https://thibautderuyter.com thibautderuyter Tue, 18 Mar 2025 05:10:13 +0000 https://thibautderuyter.com en https://thibautderuyter.com/HOME Mon, 31 Jan 2022 19:23:02 +0000 thibautderuyter https://thibautderuyter.com/HOME &gt;&gt; 1998 - 2025 &gt;&gt; a chronology of (selected) events &gt;&gt; art, architecture, criticism &amp; exhibitions&nbsp; div.pinned.pinned_bottom { display: none; } https://thibautderuyter.com/about Sat, 10 Jan 2015 13:52:43 +0000 thibautderuyter https://thibautderuyter.com/about thibaut de ruyter&nbsp;is a french-german architect, curator and critic. he lives and works in berlin since 2001. as a trained architect, he conceives exhibitions on conceptual, technical and spatial level, delivering not only the content but the design of his projects. his interests are based on new media and their archeology, the relationship between art and architecture (mostly through a critic of modernity) and the artistic scene in former socialist countries and particularly in central asia.he curated or co-curated among others the exhibitions «investigating evp» (resonance fm, london 2006), «wach sind nur die geister» (with inke arns, hmkv, dortmund 2009 &amp; coca, torun 2010), «nam june paik award» (museum kunstpalat düsseldorf 2010 &amp; kunstmuseum, bochum 2012), «ghosts off the shelf» (kunstraum kreuzberg/bethanien - ctm-festival, berlin 2012), «the empty house» (museum angewandte kunst, frankfurt/main 2013), «INDUSTRIAL (research)» (with inke arns, hmkv, dortmund 2013), «BER-DTM-HNL...» (with inke arns, hmkv, dortmund 2014), «richard meier - ein stilraum» (museum angewandte kunst, frankfurt/main 2015), «artificial intelligence (digitale demenz)» (eigen+art lab, berlin 2015) and «(art) upside down» (aluan, almaty 2015). in 2019, on the occasion of the 100 birthday of the bauhaus, he co-curated with marjolaine levy the exhibition «26 x bauhaus» that was to be seen in berlin, bremen and munich.he curated, in 2021, the 14th museum biennale in krasnoyarsk (siberia). under the title «ochumelaya vystavka», 35 berlin-based artists where asked to send instructions for the production of artworks by the inhabitants, artists and museum goers from the city. starting as a reaction to travel restrictions it became a deep questioning of the way contemporary art is produced. in 2023, he organised with inke arns a retrospective from the slovenian artist collective IRWIN (hmkv, dortmund) and a group show exploring the art scene of kosovo at the turn of 2003 (galeria 17, pristina). his latest projects happened in 2025 at the ifa-galerie in berlin — with no less than 50 fellows from the martin roth initiative depicting images of exile, and in the art station in samarcand with an exhibition questioning the cultural appropriation of the name of the city. he is (or has been) a regular contributor to the magazines l'architecture d’aujourd’hui, artpress, il giornale dell'architettura, particules, fucking good art, frieze d/e, architectuul. he published many texts in catalogues and edited or co-edited the books: »zeitgeist« (archive books, berlin), industrial on tour and industrial (research) (revolver verlag, berlin) and stadtbild (verbrecher verlag, berlin).thibaut de ruyter is a member of the aica-france, a board member of the nan hoover foundation and of the advisory board of the institute of contemporary art in yerevan. <img width="1772" height="1161" width_o="1772" height_o="1161" data-src="https://freight.cargo.site/t/original/i/23059959f2ccc6061951b708620aca563562e4425bb96cd67107f8cc57b3c22e/thibaut-de-ruyter-by-bella-sabirova-copie.jpg" data-mid="161456019" border="0" data-scale="84" data-rotation="-7.5" src="https://freight.cargo.site/w/1000/i/23059959f2ccc6061951b708620aca563562e4425bb96cd67107f8cc57b3c22e/thibaut-de-ruyter-by-bella-sabirova-copie.jpg" /> photo by bella sabirova, tashkent 2019 impressum photographers from this website:&nbsp;stefan arendt (nam june paik award, düsseldorf), thibaut de ruyter, eric jobs (nam june paik award, bochum), thomas wucherpfening (wach sind nur die geister), veronica vogelsang (the empty house), dieter leistner (museum angewandte kunst), pierre-etienne morelle (nun), yoko dupuis (ber-dtm-hnl), anja jahn (richard meier, ein stilraum), otto felber (artificial intelligence), halina kliem (aluan, zeitgeist), paula g. vidal (neue neue-nationalgalerie), vincent everarts (chemin de fer), piotr tomczyk (&amp;), aleksey kubasov (die grenze), thomas bruns (26 x bauhaus), christoph püschner (welcome to #bebeethoven), kai werner schmidt (nan hoover, metropolis), aleksey myslitsky (ochumelaya vystavka), jannis wiebusch (was ist kunst, irwin?), victoria tomaschko (one we were trees, now we are birds), katerina kuznetsova (the name of samarkand) and a few others. privacy policy At thibaut de ruyter, accessible from www.thibautderuyter.com, one of our main priorities is the privacy of our visitors. 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ConsentBy using our website, you hereby consent to our Privacy Policy and agree to its Terms and Conditions. https://thibautderuyter.com/writings Wed, 19 Jun 2013 09:59:04 +0000 thibautderuyter https://thibautderuyter.com/writings 2025 - “Vu d’Allemagne”, Art Press, n° 537 , novembre 2025, p. 49-51. - “L’envers des œuvres”, Art Press, n° 533, juin 2025, p. 26-28. - “The Name of Samarkand” and other texts, in Thibaut de Ruyter dir. , The Name of Samarkand, Researching the city’s perception in the global cultural context, Art Station by Silk Road University, Samarkand, 2025 pp. 16-21 &amp; 32-39. 2024- “L’Arménie, dans et hors les murs”, Art Press, n° 526, novembre 2024, p. 20-24 - “No Feeling Is Final. The Skopje Solidarity Collection”, Art Press, n° 518, février 2024, p. 71. 2023 - “That joke isn’t funny anymore” and other texts, in Inke Arns and Thibaut de Ruyter dir. , Was ist Kunst IRWIN?, HMKV Ausstellungsmagazin 2023/2, Dortmund, Verlag Kettler, 2023, pp. 20-36. - “On ne choisit pas ses lecteurs”, in Bruno Fern and Typhaine Garnier dir., TXT -&nbsp;On a marché sur la langue, n°36, Caen, Editions Lurlure, 2023, pp. 100-111. - “Lachen über die Grenze”, in Gleb Albert, Svenja Goltermann, Gesine Krüger, Christine Lötscher, Philipp Sarasin, Sylvia Sasse, Janosch Steuwer und Sandro Zanetti dir., Im Krieg Ukraine, Belarus, Russland - Geschichte der Gegenwart-Reader, Leipzig, Spector Books, 2023, pp. 243-250. 2022 - “In the blind spot”, in Thomas Bruns - Land, Berlin, Argobooks, 2022, pp. 44-45.- “Les statues vivent aussi”, in Alex Reding dir. , Nothing Is Permanent, Luxemburg, Art contemporain.lu asbl, 2022, pp. 10-31. - “Manifesta, raconter des histoires pour faire exposition, Art Press, n° 501, juillet-août 2022, pp. 56-58. - “La modernité, c’est la lutte des classes à la portée de tous - Modernity is class struggle accessible to all”, in Julie David dir. , Modern Lovers - Karina Bisch &amp; Nicolas Chardon, Vitry-sur-Seine, MAC VAL - Connoisseurs, 2022, pages non numérotées. - “La critique à ses frontières-circulez, il y a tout à voir ”, retranscription of a round table with Marie Godfrain, Xavier de Jarcy, Thibaut de Ruyter, Benjamin Graindorge &amp; Romain Mathieu in David-Olivier Lartigaud, Romain Mathieu &amp; Jean-Claude Paillasson dir. , Le discours critique en art &amp; design, Saint-Etienne, fabelio éditions, 2022, pp. 200-225.- “Pavillon Arménien : Andrius Arutiunian”, Art Press, n° 499, mai 2022, pp. 46-47. - “Voids of Presence - Between Past and Future”, Art Press, n° 496, février 2022, pp. 72. 2021 - “La Neue Nationalgalerie, respect à outrance”, Art Press, n° 494, décembre 2021, pp. 58-62. - “Interview with Gulnur Mukazhanova”, in Gulnur Mukazhanova, Schwielowsee-Caputh, Pro Bono Publishing, 2021, pp. 47-106. - “Rolf Julius”, in Claudia Tittel &amp; Anne Zeitz dir. , Polyphone - Mehrstimmigkeit in Bild und Ton, Heidelberg, Kehrer Verlag, 2021, pp. 156. - “Cemile Sahin”, Art Press, n° 491, septembre 2021, pp. 6-9. - “La partition d’Anne Imhof, entre musique et nature”, Art Press, n° 488, mai 2021, pp. 44-51. - “A l’Est : Jeunes Nations, Vieilles Tentations”, Art Press, n° 486-487, mars-avril 2021, pp. 94-98. 2020 - “Classiques des Cantiques - Classic Canticles”, Rainier Lericolais - Boris Aronson - Sonate, Paris, Editions Le Minotaure, décembre 2020, pp. 3-16. - “Die Beethovens”, Welcome to #bebeethoven, Podium Esslingen, october 2020, (online publication). - “Gli effetti Beaubourg”, The Passenger - Parigi, Iperborea Editions, Milan, novembre 2020, pp. 8-25. - “Moscou Triennale entre amis”, Art Press, n° 482, novembre 2020, pp. 22-25. - “11e biennale de Berlin / Studio Berlin”, Art Press, n° 482, novembre 2020, pp. 62-63. - “Jean-Patrick Manchette entre parenthèses”, Art Press, n° 480-481, septembre-octobre 2020, pp. 122. - “La Leçon de Vladivostok”, Art Press, n° 480-481, septembre-octobre 2020, pp. 72-77. - “We All Enjoy Our Ignorance, Carl Michael von Hausswolff &amp; Thomas Nordanstad”, in Daniel Ayman &amp; Eva Ebersberger dir. , Thyssen-Bornemisza Art Contemporary: The Commissions Book, Berlin, Sternberg Press, 2020, pp. 614-625. - “Berlin”, Art Press, n° 479, juillet-août 2020, pp. 80-81. 2019 - “Qu’est-il arrivé à Berlin depuis 1989&nbsp;?”, interview of Thibaut de Ruyter by Olivier Gaudin, Metropolitiques.eu, 2019, (online publication). - “Lob der Stille / In praise of silence / Eloge du silence”, in Cécile Dupaquier - Weiß Obskur, Berlin, ArtInFlow Verlag für Zeitgenössische Kunst, 2019, pp. 13-15 &amp; 58-61. - “Le Livre peut-il encore tuer l’édifice ? / Can the Book Stil Kill the Building?”, Critique d’art, n° 53, automne/hiver 2019, pp. 68-81. - “Alta infedeltà”, The Passenger - Berlino, Iperborea Editions, Milan, octobre 2019, pp. 106-125. - “Bauhaus - avant-garde ou label ?”, Art Press, n° 469, septembre 2019, pp. 58-62. - “Interview with Chris Marker’s Dialector 6”, Superficial Intelligence - Cybre Arts &amp; Letters, n° 1, printemps 2019, pp. 2-8. - “Anna Oppermann - Embrasser l'univers”, Art Press, n° 467, mai 2019, pp. 50-53. - “Tous à Venise (ou presque)!”, Art Press, n° 466, avril 2019, pp. 76-78. - “Jürgen Klauke - l’entre-deux et le par-delà”, Art Press, n° 465, avril 2019, pp. 22-29. - “Niko Pirosmani”, Art Press, n° 463, février 2019, pp. 64. 2018 - “La peinture comme instrument”, Pleased to meet you : Richard Jackson, Sémiose Editions, octobre 2018, pp. 16-17 &amp; 20-21. - “Alisa Berger”, Art Press, n° 460, novembre 2018, pp. 18-21. - “Le charme de Łódź”, Art Press, n° 460, novembre 2018, pp. 28-34. - “10th Berlin Biennale for Contemporary Art &amp; For the Record”, Art Press, n° 458, septembre 2018, pp. 62-63. - “Philippe Parreno - Martin Gropius-Bau”, Art Press, n° 458, septembre 2018, pp. 64. 2017 - “Vent d’Est - art en ex-Union soviétique”, Art Press, n° 450, décembre 2017, pp. 61-68. - “Be Kind, Rewind!”, in Oliver Zybok dir. , Joep van Liefland MASTERTAPE, Berlin, Hatje Cantz Verlag, 2017, pp. 47-49. - “Discrète Rencontre et Basse-Fidélité” in Thomas Bernard dir., Rolf Julius Music in a Corner, Paris, Galerie Thomas Bernard, 2017, pp 2-5. - “Skulptur Projekte 2017”, Art Press, n° 445, juin 2017, pp. 10-12. - “Made in Heaven ?”, Sofa, n° 2, summer 2017, pp. 57. - “Mais qui est donc vraiment Mïrka Lugosi”, Roven, n° 13, mars 2017, pp. 90-95. 2016 - “Des bancs au musée”, Mouvement, n° 86, novembre-décembre 2016, pp. 34. - “Nul n’est prophète en son pays / Niemand ist Prophet im eigenen Land” , in Adeline Blanchard &amp; Thibaut de Ruyter dir. , »Zeitgeist« - «L’esprit d’un temps», Berlin, Archive Books, 2016, pp. 85-91. - “Jérôme Zonder - décryptage d’un dessin d’enfant”, Art Press, n° 437 deuxième cahier, octobre 2016, pp. XLIII-XLV. - “L’héritage de Roger Tallon”, Art Press, n° 436, septembre 2016, pp. 08-11. - “Berlin Biennale - The present in Drag”, Art Press, n° 436, septembre 2016, pp. 20-21. - “Le Centre Inconnu”, Mouvement, n° 83, mai-juin 2016, pp. 42-47. - “The Face of (another) Architecture”, in Tamami IInuma dir. , House of Architecture, Tokyo, Post / limArt, 2016, pages non numérotées. 2015 - “Art (Upside) Down”, in Gaisha Madanova dir. , ALUAN n°1, Almaty, 2015, pp. 19-139. - “Des mots, des mots, des mots, rien que des mots, toujours des mots”, in Gaëlle Rageot-Deshayes dir. , Cahiers de l’Abbaye Sainte-Croix n°128, Damien Deroubaix - L’esprit de notre temps, Les Sables d’Olonne, 2015, pp. 19-21, 105-107, 120-121. - “Apropos Stadt/Bild”, in Thibaut de Ruyter &amp; Jörg Sundermeier dir. , Stadt/Bild - Ein Lesebuch, Berlin, 2015, pp. 6-9. - “My Own King of Prussia”, in Jamie Diamond &amp; Brent Wahl dir. , Studio Berlin 2015, PennDesign - University of Pennsylvania, Philadelphia, 2014, pages non numérotées. - “90 Minutes (ou presque)”, Art Press 2, n° 37, mai-juillet 2015, pp. 82-84. - “Faire parler de soi”, Mouvement, n° 76, mars-avril 2015, pp. 94. - “Asie Centrale - Voyage en uchronie”, Art Press, n° 419, février 2015, pp. 90-93. 2014 - “Glossar / Glossary”, in Tobias Dostal dir. , Drei Dollar Plus Fünf Euros, Hannover, 2014, pp. 8-11. - “In weiter Ferne, so nah / Faraway, so close”, in Stephanie Kloss dir. , Stephanie Kloss - Weltausstellung, Berlin, Sternberg Press, 2014, pp. 113-117 &amp; 140-143. - “Les espaces de la prostitution” &amp; “Roswitha Hecke, Liebes Leben”, Art Press 2, n° 35, novembre-décembre 2014 - janvier 2015, pp. 55-62 &amp; 103-105. - “Faire de la copie une réalité” + 25 entrées de dictionnaire, in David Sanson dir. , Berlin Histoire, Promenades, Anthologie et Dictionnaire, Editions Robert Laffont, Paris, 2014, pp. 231-247 et autres. - “Checkpoint Frenchie”, L’Officiel Art, n° 11, septembre-octobre-novembre 2014, pp. 180-183. - “Nous vivons une époque formidable”, in Pierre Beloüin &amp; P. Nicolas Ledoux dir. , Optical Sound Numéro Deux - Art &amp; Musique, Ollioules Paris, 2014, pp. 8-13. - “Juste un peu de papier imprimé”, Art Press 2, n° 34, août-septembre-octobre 2014, pp. 98-102. - “Gallery Weekend - Berlin Biennale - Project Space Festival”, Art Press, n° 414, septembre 2014, pp. 12-13. - “Wieso Jules Verne / Why Jules Verne / Pourquoi Jules Verne ?”, in Peter Lang &amp; Christoph Tannert dir. , Das Mechanische Corps - Auf den Spuren von Jules Verne Künstlerhaus Bethanien, Berlin, 2014, pp. 38-46 &amp; 210-213. - “Jorge Queiroz”, Art Press, n° 412, juin 2014, pp. 20. - “De-pro-fes-siona-lize”, in Maik Schierloh &amp; Joep van Liefland dir. , Autocenter, Berlin, Distanz Verlag, 2014, pp. 341-344. - “MONKS (The)”, in Michka Assayas dir. , Le Nouveau Dictionnaire du Rock, Paris, Editions Robert Laffont, 2014, pp. 1734-1735. - “J’y étais… (Un manifeste fantoche fabriqué à partir de quelques dizaines d’anecdotes sans intérêt)”, in Eric Mangion &amp; Jean Marc Avrilla dir. , Le temps de l’écoute – Pratiques sonores et musicales sur la Côte d’Azur des années 1950 à nos jours, Dijon - Nice, Les Presses du Réel - Villa Arson, 2014, pages non numérotées. 2013- “Moving into the Unknown - Interview with Carl Michael vo, Hausswolff”, “Nearly / Almost / Just About” &amp; “Zone”, in Petra Reichensperger dir. , Begriffe des Ausstellens / Terms of Exhibiting, Berlin, Sternberg Press, 2013, pp. 204-213, 251, 279, 295 &amp; 312.- “Les (non-)partitions d’Eliane Radique”, in Eliane Radigue Naldjorlak I II III, Shiiin, 2013, pp. 4-10.- “La belle céramique est derrière nous”, “Les architectures sexuées d’Elmar Trenkwalder” &amp; “Produire, toujours produire, un atelier berlinois”, Art Press 2, n° 31, novembre-décembre 2013 / janvier 2014, pp. 40-49 &amp; pp. 92-94.- “Dopo 12 anni Libeskind amplia se stesso (e migliora)”, Il Giornale dell’architettura, n° 116, hiver 2013, pp. 4.- “Eliane Radigue - la discrétion des sons”, Art Press, n° 406, décembre 2013, pp. 12-13.- “Question de genre”, in Damien Deroubaix, Jérôme Lefèvre dir. , Altars of Madness, Poitiers, Le Confort Moderne, 2013, pp. 34-41.- “History of a Good-Looking Girl, Not Too Made Up, Called Babette / Geschichte eines hübschen, nicht zu sehr geschminkten Mädchens namens Babette”, in Maik Schierloh dir. , Bar Babette Kosmetiksalon, Berlin, Sternberg Press, 2013, pp. 18-23.- “Karl Hans Janke, Inventeur patenté”, Art Press 2, n° 30, août-septembre-octobre 2013, pp. 60-63.- “Jamais la même chose, ni tout à fait une autre - conversation avec Eliane Radigue”, in Eliane Radigue - Portrais Polychromes, Groupe de Recherches Musicales de l’ina, Paris, avril 2013, pp. 77-84.- “Glam ! The Performance of Style”, Art Press, n° 403, septembre 2013, pp. 19.- “STORM THE STUDIO !”, Volume, n° 6, mai - novembre 2013, pp. 14-18.- “Non un museo, un mausoleo”, Il Giornale dell’architettura, n° 114, été 2013, pp. 6.- “Rineke Dijkstra - MMK, Frankfurt/Main”, Frieze d/e, n° 10, été 2013, pp. 150-151.- “Konrad Smolenski”, Art Press, supplément au n° 401 - 55e Biennale de Venise, juin 2013, pp. 30-31.- “Bogomir Ecker”, Art Press, n° 399, avril 2013, pp. 16.- “Pour une écoute sensible d’Eliane Radigue”, in Eliane Radigue PSI 847, Oral, 2013, pages non numérotées.- “My Polish Diary / Jounal (intime) polonais”, in Inke Arns, Thibaut de Ruyter dir. , INDUSTRIAL on Tour, Berlin, Revolver Verlag, 2013, pp. 97-142 .- “Youcef Korichi, machine à remonter l’esprit du temps”, Catalogue d’exposition Youcef Korichi Non-lieu, non sites, Galerie Suzanne Tarasiève, Paris, pp. 5-10.- “Verfürhrung Freiheit &amp; Im Atelier der Geschichte”, Art Press, n° 397, février 2013, pp. 17. 2012- “L’artiste, son atelier et sa mise en scène”, Art Press, n° 395, décembre 2012, pp. 89-93.- “Schinkel genio incontenibile”, Il Giornale dell’architettura, n° 111, décembre 2012, pp. 19.- “Marlie Mul - Rauchen, Küssen, Daten speichern / Smoking, kissing and storing data”, Frieze d/e, n° 7, hiver 2012, pp. 98-99.- “Erik Bünger - A Lecture on Schizophonia”, Volume, n° 5, octobre 2012 - avril 2013, pp. 46-50.- “Jean Mairet, un Français en Allemagne”, Art Press, n° 394, novembre 2012, pp. 48-50.- “Jonas Mekas, La joie de cette vie en 16 mm”, Art Press, n° 394, novembre 2012, pp. 89.- “Seiichi Furuya - Im land der letzten Bilder / In the Country of the Last Images”, Frieze d/e, n° 6, automne 2012, pp. 98-103.- “In piccolo il mondo è molto più bello”, Il Giornale dell’architettura, n° 108, août-septembre 2012, pp. 26.- “Negli oggetti sparsi per le case il lascito della scuola di Ulm”, Il Giornale dell’architettura, n° 107, juillet 2012, pp. 31.- “Erik Bünger - Lecture-Performance, Hollywoodkino und Geheimgesellschaften”, Frieze d/e, n° 5, été 2012, pp. 120-121.- “Du papier journal à la toile”, Art Press 2, n° 25, mai-juin-juillet 2012, pp. 117-122.- “L’exposition que je n’ai pas vue / The Exhibition I haven’t seen”, in Jérôme Poret - Weather Dust Storm Center, éditions Le Gac Press, Blou, avril 2012, pp. 114-129.- “Ray Johnson - Galerie Aurel Scheibler, Berlin”, Frieze d/e, n° 4, printemps 2012, pp. 126-127.- “Alexandra Vogt”, Art Press, n° 388, avril 2012, pp. 20.- “Mollino come Molinier. Idolatrato e mercanteggiao”, Il Giornale dell’architettura, n° 104, avril 2012, pp. 31.- “Damien Cadio”, Art Press, n° 387, mars 2012, pp. 60-62. 2011- “Stratégie de la reprise / The Cover Version As Strategy”, in Elodie Lesourd - Werther Effect, éditions Dilecta, Paris, novembre 2011, pp. 14-17.- “Seiichi Furuya - Mémoires”, Art Press, n° 384, décembre 2011, pp. 20.- “Ernst May, organizzatore geniale ma anonimo architetto”, Il Giornale dell’architettura, n° 98, octobre 2011, pp. 24.- “Less Money, More Love (Extended Version)”, Format P, n° 4, The Future of Art Criticism as Pure Fiction. 
A Set of 19 Exhibition and One Collateral Event, ed. Fundacja Bęc Zmiana, Varsovie, juillet 2011, pp. 168-176.- “Un libro eccellente. E per pochi”, Il Giornale dell’architettura, n° 97, aout-septembre 2011, pp. 26.- “Damien Cadio, Damien Deroubaix, Elodie Lesourd, Audrey Nervi, Florence Obrecht” in Eva Hober et Jean-Luc Maslin dir., La Belle Peinture Est Derrière Nous - Beautiful Painting is Behind Us - Güzel Resim Geçmişe Aitir, Istanbul, Institut Français d’Istanbul, 2011, pages non numérotées.- “Berlin City Report”, Art Press, n° 376, mars 2011, pp. 88-89.- “Absalon”, Art Press, n° 375, février 2011, pp. 14-16.- “Martin Dammann, le révélateur”, Art Press, n° 375, février 2011, pp. 43-47. 2010- “Dialogo spinto tra antico e nuovo a Berlino”, Il Giornale dell’architettura, n° 89, novembre-décembre 2010, pp. 13.- “Lost the Translation (une fois encore)” &amp; “Lost in the Translation (einmal mehr)”, Transfer Journal, éditions NRW KULTURsekretariat, Wuppertal, décembre 2010, pp. 83-84.- “Anna Oppermann”, Art Press, n° 373, décembre 2010, pp. 28-31.- “A Suit Does Not Make a Man, But it Helps”, in Front Desk/Back Office, Fucking Good Art edition n°2, ed. Fucking Good Art &amp; post editions, octobre 2010, pp. 19-24.- “Rudolf Steiner et l’art d’aujourd’hui / Rudolf Steiner : l’alchimie du quotidien”, Art Press, n° 370, septembre 2010, pp. 77-78.- “Quand le bâtiment va, tout va”, in Sammy Engramer - Log, éditions HYX, Orléans, 2010, pp. 46-53.- “La bellezza discreta di Dieter Rams”, Il Giornale dell’architettura, n° 86, juillet-aout 2010, pp. 29.- “6e Biennale de Berlin”, Art Press, n° 368, juin 2010, pp. 22-24.- “Rudolf Steiner riletto con (troppo) ossequio e un po’ di banalita”, Il Giornale dell’architettura, n° 85, juin 2010, pp. 21.- “Jan Peter Hammer”, Art Press, n° 367, mai 2010, pp. 81.- “Berlino, sos per Hejduk ”, Il Giornale dell’architettura, n° 83, avril 2010, pp. 15.- “La raison est ailleurs”, in Damien Cadio - Forteresse, co-édition CRAC-Alsace, Altkirch et Galerie Almine Rech, Paris, 2010, pp. 13-16 (pp. 27-29 traduction en anglais et pp. 39-41 en allemand).- “Śmierć i elektryczność”, in Nie śpią tylko dychy / Awake are only the spirits, ed. Centrum Sztuki Współczesnej Znaki Czasu, Torun, 2010, pp. 27-31. (traduction polonaise de “Death and Electricity”).- “Monika Treut, Mau comportamento feminino”, in Monika Treut, Guerreira des imagens, ed. Centro Cultural Banco do Brasil, 2010, pp. 63-68. (traduction portugaise de “Monika Treut - Female Misbehavior”).- “Postérité(s) de la modernité”, Art Press, n° 366, avril 2010, pp. 50-57.- “Biennales: le modèle d’Istanbul”, Particules, n° 27, janvier-février-mars 2010, pp. 17. 2009- “Das Versteckspiel / Hide and Seek”, in Marion Ermer Stiftung (dir.), Margret Hoppe, Berlin, argobooks, 2009, pages non numérotées.- “Stanno scomparendo 40 anni di storia”, Il Giornale dell’architettura, n° 78, novembre 2009, pp. 3.- “Rituels du regarg”, in Agnès Geoffray - Profond Silence, Bruxelles, Editions La Lettre Volée, 2009, pp. 108-113.- “Erste Hilfe - Kunst auf Krücken / First Aid - Art on Crutches”, Be Magazin n°16, Künstlerhaus Bethanien, Berlin, 2009, pp. 117-123.- “Les malheurs de la perspective contemporaine”, Communications n°85, Ecole des Hautes Etudes en Sciences Sociales - Centre Edgar Morin, numéro sous la direction de Philippe Mesnard, Editions du Seuil, Paris 2009, pp. 155-170.- “L’envers des décors de Julian Rosefeldt”, Art Press, n° 361, novembre 2009, pp. 72-76.- “Thomas Demand”, Art Press, n° 361, novembre 2009, pp. 94-95.- “La storia del Bauhaus è diventata marketing”, Il Giornale dell’architettura, n° 77, octobre 2009, pp. 25.- “Der Tod und die Elektrizität / Death and Electricity”, in Inke Arns, Thibaut de Ruyter dir. , Wach sind nur die Geister, Berlin, Revolver Verlag, 2009, pp. 145-158.- “Déclaration d’amour à Elke Krystufek", Art Press, n° 357, juin 2009, pp. 60-63.- “David Cerný - Entropa &amp; Lille3000 - Europe XXL”, Art Press, n° 357, juin 2009, pp. 87-89.- “Ma vie avec Jonas Mekas”, Particules, n° 23, février-mars 2009, pp. 19.- “Tim Plamper - Technique”, Particules, n° 23, février-mars 2009, pp. 22.- “The exhibition that never was”, in Steve Schepens Horror 44, cat. d’exposition De Bond &amp; BE-Part, Belgique, pages non numérotées.- “Marlene McCarty, barbarie adolescente”, Art Press, n° 354, mars 2009, pp. 52-57.- “Berlino, Università Humboldt + 5”, Il Giornale dell’architettura, n° 70, febbraio 2009, pp. 2. 2008- “Question de vocabulary”, Le Quai, n° 22, décembre 2008, pp. 3-4.- “Les histoires de Madelon Vriesendorp”, Particules, n° 21, octobre-novembre 2008, pp. 18-19.- “Brinkmann, vite.”, préface à l’édition française de Rome, regards, Rolf Dieter Brinkmann, traduction de Martine Rémon, Quidam Editeur, 2008, pp. 5-9.- “In Memoriam, Jörg Immendorff”, Art Press, n° 348, septembre 2008, pp. 44-48.- “Kutlug Ataman &amp; Edition Block”, Art Press, n° 347, juillet-août 2008, pp. 78-79.“Y-a-t-il une vie en dehors du marché de l’art” &amp; “Is there life outside the art market” (trad. anglaise), Fucking Good Art, n° 20 (domestic &amp; export edition), Amsterdam &amp; Zurich, Episode Publishers &amp; Edition Fink, avril 2008, pp. 43-49.- “La valeur n’attend pas le nombre des années”, Particules, n° 20, juin-juillet-août 2008, pp. 8.- “Germania: la Berlino di Hitler”, Il Giornale dell’architettura, n° 63, juin 2008, pp. 49.- “Agam - Le salon de l’Elysée”, Art Press, n° 346, juin 2008, pp. 82.- “Ri-Visitati: Deutsche Historische Museum +5”, Il Giornale dell’architettura, n° 62, mai 2008, pp. 2.- “The Last Ten Shots” (catalogue de l’exposition éponyme), Mollusk, n° 7, mai 2008, pages non numérotées.-” How Many Times Will We Have to Bury Lenin?”, in Delphine Bedel dir. , All that is solid melts into air, Notes on Tourism, Amsterdam, Episode Publishers, 2008, pages non numérotées.- “Filtrer la réalité”, in Catalogue des expositions à la Villa du Parc 2005-2007, mars 2008, pp. 53-54.- “Manfred Kuttner”, Art Press, n° 345, mai 2008, pp. 86-87.- “Welcome to Ghanallywood”, DAM n° 16, avril-mai 2008, pp. 39-42.- “Gérard Fromanger, Ils sont sur la Lune”, Art Press 2, n° 8, février-mars-avril 2008, pp. 90-94.- “Vostell au paradis”, Art Press, n° 343, mars 2008, pp. 22-25.- “The Medium is the Message”, Mollusk, n° 6, Janvier 2008, pages non numérotées.- “Gregor Schneider, l’architecture du désastre”, Art Press, n° 342, février 2008, pp. 31-37.- “Annie Sprinkle &amp; Elizabeth M. Stephens”, Art Press, n° 342, février 2008, pp. 87. 2007- “Joep Van Liefland : Travailler plus pour gagner plus”, Mollusk, n° 5, décembre 2007, pp. 81-86.- “Schneider TM &amp; Lustfaust”, Art Press, n° 340, décembre 2007, pp. 76-77.- “Karl Hans Janke vs. Wernher von Braun”, Art Press, n° 340, décembre 2007, pp. 77-78.- “Damien Deroubaix, Dominique Gonzalez-Foerster, Thomas Hirschhorn”, in Gaël Charbau dir. , AF21.1 Art France 1990-2007, Editions Particules, Paris, 2007, pp. 120, 129 &amp; 130. - “Documenta 12”, Art Press, n° 338, octobre 2007, pp. 80-82.- “Kino wie noch nie”, Art Press, n° 337, septembre 2007, pp. 75-76.- “La blancheur de Londres”, Art Press 2, n° 6, août-septembre-octobre 2007, pp. 53-62.- “Berlin Alexanderplatz, la place de l’histoire”, L’Architecture d’Aujourd’hui, n° 371, juillet-août 2007, pp. 86-87.- “Contemporary Art in France”, Art Monthly, n° 308, juillet-août 2007, pp. 44.- “Le petit théâtre de Damien Deroubaix”, in Ralph Melcher dir. , Welcome to Our Neigbourhood, cat. d’exposition, Casino Luxembourg - Forum d’art contemporain, 2007, pp. 40.- “Tim Hecker - Bruit de fond”, Mouvement, n° 44, juillet-septembre 2007, pp. 130-131.- “1957. Le Hansaviertel, Berlin, Allemagne”, L’Architecture d’Aujourd’hui, n° 370, mai-juin 2007, pp. 74-81.- “The Poetic Beauty of Mathematics (and Other Sciences)”, in Gregor Podnar dir. , Vadim Fishkin Orbit Edges, Ljubljana &amp; Zurich, gurgur editions &amp; JRP⎮Ringier, 2007, pp. 116-121.- “New-York, Tokyo, Bleckede, Buenos Aires, Laval”, Particules, n° 19, juin-juillet-août 2007, pp. 7.- “Vérification d’usage” (collaboration avec Michel Couturier), Parade revue d’art et de littérature, n° 7, Ecole Régionale Supérieure d’Expression Plastique (ERSEP), Tourcoing, 2007, pp. 89-103.- “Mathias Poledna Actualité, 2001 : Style It Takes ”, Art Press 2, n° 5, mai-juin-juillet 2007, pp. 86-90.- “La brillance des choses”, Catalogue d’exposition Katharina Ziemke Solférino, Galerie Zürcher, Paris, pages non numérotées.- “Tout doit disparaître! Jusqu’à épuisement des stocks disponibles.”, réimpression du texte paru dans Art Press +, Hors-Série L’architecture contre-attaque. In Les formes contemporaines de l’art engagé, Eric Van Essche dir., Bruxelles, Editions La Lettre Volée, 2007, pp. 223-228.- “The best Copenhagen city guide”, Fucking Good Art, n° 16 (domestic &amp; export edition), avril 2007, pages non numérotées.- “Design by accident”, Art Press, n° 334, mai 2007, pp. 84-85.- “Peu importe de Sade”, Catalogue d’exposition Pablo Alonso Torta Morbida, Galerie Suzanne Tarasiève, Paris, pp. 3-4, 6.- “Le meilleur groupe du monde”, Particules, n° 18, mars-avril 2007, pp. 6.- “Zidane roule-t-il en Ferrari”, Particules, n° 18, mars-avril 2007, pp. 16.- “We all need an Autocenter”, Fucking Good Art, n° 15, février 2007, pages non numérotées.- “Damien Deroubaix, la nausée”, Art Press, n° 331, février 2007, pp. 44-46.- “All in the Present Must Be Transformed : Matthew Barney et Joseph Beuys”, Art Press, n° 331, février 2007, pp. 80-82.- “Hermann Nitsch”, Art Press, n° 331, février 2007, pp. 82-83.- “La rinascita di un ideale moderno”, Il Giornale dell’architettura, n° 47, janvier 2007, pp. 24. 2006 - “Unfälle, Figuren und Möglichkeiten — Accidents, personnages et potentialités”, Konservierungsmaßnahmen, C/O Talents 05 Junge Fotografie / Kunstritik Gaël Peltier / Thibaut de Ruyter, Deutscher Kunstverlag, 2006, pp. 10-21.- “Louis I. Kahn de Robert McCarter”, L’Architecture d’Aujourd’hui, n° 366, septembre-octobre 2006, pp. 2.- “Hannes Meyer ou l’architecture retrouvée”, L’Architecture d’Aujourd’hui, n° 366, septembre-octobre 2006, pp. 106-113.- “Neo Rauch / Werner Tübke / Dorit Margreiter à Leipzig”, Art Press, n° 328, novembre 2006, pp. 76-78. - “Christoph Keller, L’art de l’invention et l’invention de l’art”, Particules, n° 16, octobre-novembre 2006, pp. 9.- “Laisse venir, laisse venir...”, in Eléonore de Montesquiou dir., Atom Cities - Sillamäe, catalogue d’exposition, 2006, pp. 216-220.- “Berlin, ville Transit”, Art Press 2, n° 2, août-septembre-octobre 2006, pp. 5-10. - “Thomas Bruns, Cartes postales critiques”, Art Press 2, n° 2, août-septembre-octobre 2006, pp. 42-49. - “Wawrzyniec Tokarski, Le grotesque et l’ironie”, Art Press 2, n° 2, août-septembre-octobre 2006, pp. 104-106. - “Learning from Pessac - The Posterity of Le Corbusier’s Sugar Cubes”, GAM—Graz Architecture Magazine n° 3, Vienne, Springer-Verlag, 2006, pp. 48-61.- “L’imposture Eliasson”, Particules, n° 15, juin-août 2006, pp. 5.- “Joep Van Liefland’s Video Palace : A quand une succursale à Paris ?”, Particules, n° 14, avril-mai 2006, pp. 11.- “Les coins de Matthias Weischer”, Art Press, n° 323, mai 2006, pp. 42-47. - “4e Biennale d’art contemporain de Berlin, interview avec Maurizio Cattelan, Massimiliano Gioni et Ali Subotnick”, Art Press, n° 322, avril 2006, pp. 18-21. - “Jörg Immendorff”, Art Press, n° 322, avril 2006, pp. 75-76. - “Zweimal verkehrt herum bedeutet nicht unbedingt richtig herum / Twice Reversed Doesn’t Necessarily Mean the Right Way Around”, in Daniel Kuriakovic dir. , Vittorio Santoro Every Thing’s Not Lost, Francfort sur le Main, Revolver Verlag, 2006, pp. 50-55. - “Scompare il Palast der Republik a Berlino: Una lenta agonia”, Il Giornale dell’architettura, n° 38, mars 2006, pp. 1&amp;23. - “Faut-il habiter Berlin pour être un bon plasticien ?”, titre original : “Ne venez plus !”, Particules, n° 13, février-mars 2006, pp. 2.- Récension de deux ouvrages à propos de Max Bill, L’Architecture d’Aujourd’hui, n° 362, janvier-février 2006, pp. 4. - “Mon ami Juergen Teller”, Art Press, n° 321, Mars 2006, pp. 38-41. - “Jules de Balincourt, naïveté réaliste”, Art Press, n° 320, février 2006, pp. 30-33. - “Andres Serrano : mon Amérique”, Art Press, n° 320, février 2006, pp. 46-52. - “Elke Krystufek”, Art Press, n° 320, février 2006, pp. 85-86. 2005- “Dekleva Gregoric Arhitekti - XXS House, Ljubljana, Slovenia”, in Kristien Rieg dir. , in Emerging Identities - East!, Berlin, Jovis Verlag, 2005, pp. 172-173. - “Un certain romantisme urbain / Urbane Romantik”, Agnès Hardy, Berlin, Herausgegeben von Goldrausch Künstlerinnenprojekt art IT, 2005, pp. 25-29. - “Ceal Floyer”, Art Press, n° 317, novembre 2005, pp. 76-77. - “1955-2005 : 50 ans de Documenta”, Art Press, n° 317, novembre 2005, pp. 75-76. - “Berlin : le Mémorial aux juifs assassinés de Peter Eisenman”, Art Press, n° 317, novembre 2005, pp. 39-41. - “Berlin-Hauptstadt der DDR : les allées du luxe prolétaire”, L’Architecture d’Aujourd’hui, n° 360, septembre-octobre 2005, pp. 100-107. - “Raison d’être”, in Petra Reichensperger dir. , The Making of Alex, Francfort sur le Main, Revolver Verlag, 2005, pp. 38-47. - “Berlin, quel modèle ?”, Art Press, supplément au n° 316, octobre 2005, pp. 11-15. - “Roger M. Buergel, la ligne de la documenta”, Rézo International, n° 18, automne 2005, pp. 45. - “volume minimal : un art de la projection du son”, Art Press, n° 315, septembre 2005, pp. 49-54. - “Freiwillige Gefangene or the secret that the pyramid does not contain a treasure chamber, will be kept forever”, in Jurriaan Benschop, dir. , Atelier Berlijn - Atelier Berlin, Amsterdam, Kastalia, 2005, pp. 91-107. - “La rivoluzione è in marcia!”, Il Giornale dell’architettura, n° 31, juillet-août 2005, pp. 26. - “The essential is (no longer) visible - Interview with Carsten Nicolai”, Sound Art / Resonance Magazine Supplement, Londres, London Musician’s Collective, 2005, pp. 49-55. - “Aesthetic Voice Phenomenon”, Sound Art / Resonance Magazine Supplement, Londres, London Musician’s Collective, 2005, pp. 37-42. - “Peep Show”, in Susanne Ackers, Inke Arns dir. , Verstreute Momente der Konzentration - Urbane und Digitale Räume, Francfort sur le Main, Revolver Verlag, 2005, pp. 14-32. - “Michel Majerus”, Art Press, n° 313, juin 2005, pp. 78-79. - “Tout doit disparaître! Jusqu’à épuisement des stocks disponibles.”, Art Press +, Hors-Série L’architecture contre-attaque, mai 2005, pp. 66-69. - “Kbam !”, Damien Deroubaix et hop !, Strasbourg, Editions Rhinoceros, 2005, pp. 03-09 &amp; 43-46. - “Maison XXS, Ljubljana, Slovénie par Aljosa Dekleva et Tina Gregoric architectes”, L’Architecture d’Aujourd’hui, n° 357, mars-avril 2005, pp. 52-53. - “de la représentation de la terreur: la RAF”, Art Press, n° 311, avril 2005, pp. 77-79. - “As the veneer of democracy starts to fade, à propos de terrorisme et fiction dans Dial H-I-S-T-O-R-Y de Johan Grimonprez”, Tausend Augen, n° 30, hiver 2005, pp. 34-38. - “Postcard from Berlin”, Architect’s Journal, volume 221, number 8, mars 2005, pp. 50. - “Carl Michael von Hausswolff”, Art Press, n° 310, mars 2005, pp. 76-77. - “Mostrando le differenze, a partire dalla rovina”, Poste de police et de pompiers à Berlin par les architectes Sauerbruch-Hutton, Il Giornale dell’architettura, n° 25, janvier 2005, pp. 20-21. - “Shrinking Cities”, chronique d’exposition, L’Architecture d’Aujourd’hui, n° 356, janvier-février 2005, pp. 38. 2004- “Import/Export”, BDAP, n° 17, hiver 2004, pp. 8. - “Camera Austria - entretien avec Christine Frisinghelli”, BDAP, n° 17, hiver 2004, pp. 15. - “Juergen Teller”, Art Press, n° 306, novembre 2004, pp. 70-71. - “Shrinking ideals”, Architect’s Journal, volume 220, number 12, septembre 2004, pp. 48. - “Risplendono i mosaici e curtain wall dell’ex DDR”, Rénovation de la Haus des Lehrers à Berlin, Il Giornale dell’architettura, n° 21, septembre 2004, pp. 20. - “Did Gerhard Richter ever apply for a residency?”, in Halle für Kunst e. V. / Kerstin Niemann / Bettina Steinbrügge dir., Gastfreundschaft, Francfort sur le Main, Revolver Verlag, 2004, pp. 135-145. - “Derrière le voile, la promesse” à propos de la simulation de la Bauakademie de Schinkel, L’Architecture d’Aujourd’hui, n° 356, septembre-octobre 2004, pp. 54-59. - Récension de trois ouvrages à propos de la HfG Ulm, L’Architecture d’Aujourd’hui, n° 356, septembre-octobre 2004, pp. 2. - “Helmut Newton”, Art Press, n° 304, septembre 2004, pp. 77-78. - “Ankleben Verboten !”, Nicole Nickel Supraparc, Berlin, Souvenirkatalog, pp. 13-17. - “Warum Berlin”, BDAP, n° 16, été 2004, pp. 10 &amp; 18-19. - “ Stationary Niceness”, Techno, Zeitschrift Ausgabe n° 6, juin 2004, pp. 14. - “Monika Treut - Female Misbehavior”, Art Press +, Hors-Série X-Elles Le sexe par les femmes, mai 2004, pp. 61-65. - “IRWIN - Apprendre à se moquer du monde”, Art Press, n° 302, juin 2004, pp. 28-34. - “3e Biennale de Berlin”, Art Press, n° 301, mai 2004, p. 72-73. - “Carsten Nicolai”, Art Press, n° 298, février 2004, p. 73-74. - “Un paesaggio artificiale per la ricerca”, Bâtiment universtaire des architectes Augustin+Frank à Berlin, Il Giornale dell’architettura, n° 15, février 2004, pp. 20-21. - “Goldrausch”, Art Press, n° 298, février 2004, p. 74-75. - “Industrial espionage”, Architect’s Journal, volume 219, number 1, janvier 2004, pp. 44. - “Exposition universelle d’Hanovre 2000, 4 ans après”, Archistorm, n° 2, janvier 2004, pp. 24-25. - “Il visitatore affranto nella discarica dell’architetto”, Rem Koolhaas-AMO-OMA et l’exposition Content à la Neue Nationalgalerie de Berlin, Il Giornale dell’architettura, n° 14, janvier 2004, pp. 29. 2003- “Barbara Breitenfellner”, Art Press, n° 294, octobre 2003, p. 84-85. - “Sul filo del raconto”, exposition Herwig Illmaier à Graz, Il Giornale dell’architettura, n° 11, octobre 2003, pp. 32. - “Tommi Grönlund &amp; Peteri Nisunen”, Art Press, n° 292, juillet-août 2003, pp. 70-71. - “Courrier du lecteur”, A cause du vent, n° 2, été 2003, pp. 68-71. - “Case a libro aperto”, l’atelier André Breton, Il Giornale dell’architettura, n° 8, juin 2003, pp. 21. - “MARS - Kunst und Krieg”, Art Press, n° 290, mai 2003, pp. 74-75. - “Thomas Huber”, Art Press, n° 289, avril 2003, pp. 69. - “L’isola d’arte annaspa nel fiume”, l’île de Vito Acconci à Graz, Il Giornale dell’architettura, n° 5, mars 2003, pp. 29. - “Gerhard Richter”, Art Press, n° 287, février 2003, pp. 72. 2002- “HfG Ulm The view behind the Foreground”, récension de l’ouvrage de René Spitz, L’Architecture d’Aujourd’hui, n° 342, septembre-octobre 2002, pp. 10. - “Convaincre est infécond (brève introduction au travail de Georg Auracher)”, A cause du vent, n° 1, hiver 2002, pp. 25-28. 2001- “Où il est question de www. doigtdansloeil.com”, DDO, n° 45, septembre-novembre 2001, pp. 58. - “Mies van der Rohe et le bâtiment image”, Ligeia dossiers sur l’art, n° 33-34-35-36, octobre 2000-juin 2001, pp. 178-188. - “Un véritable petit laboratoire”, DDO, n° 43, mars-avril 2001, pp. 43. 2000- “Du pop-corn plein les yeux”, DDO, n° 41, septembre-novembre 2000, pp. 27. - “A l’ombre des jeunes roses en fleurs”, DDO, n° 41, septembre-novembre 2000, pp. 20-23. 1999- “It’s more fun to compute”, à propos de Lost in the translation 2, travail personnel de fin d’études en architecture, in L’annuel de l’école d’architecture de Lille-Régions Nord, n° 4, 1999, pp. 100-101. 1998- “Just watching the trees and the leaves as they fall”, Tausend Augen, n° 12, printemps 1998, pp. 26-30. https://thibautderuyter.com/2025-once-we-were-trees-now-we-are-birds Fri, 07 Feb 2025 08:27:09 +0000 thibautderuyter https://thibautderuyter.com/2025-once-we-were-trees-now-we-are-birds Once We Were Trees, Now We Are Birds Once We Were Trees, Now We Are Birds is an exhibition at the ifa Gallery Berlin and a festival at the Goethe-Institut in Exile. Both present a broad selection of works by artists who have found a safe haven in Germany with the support of the Martin Roth-Initiative. The exhibition and the festival are curated by former scholarship holders. Against the backdrop of the strengthening of authoritarian forces and a world increasingly characterised by crises, they explore questions of belonging, uprooting and new beginnings in unknown landscapes. &nbsp; For the exhibition, each of the approximately 50 participating artists, performers, writers, dramaturges, photographers, and filmmakers have designed a poster - available for visitors to take home. The individual and collective works are deeply personal. At the same time, they form a collective mosaic of stories that reflect our contemporary world, addressing life’s ruptures and crossroads. How does exile begin and how does it change in the specific context of a new home? In a world where digital images and fake news form an endless stream, capturing and sharing subjective testimony in print can be an act of resistance. <img width="3543" height="2363" width_o="3543" height_o="2363" data-src="https://freight.cargo.site/t/original/i/9462057a4fcff3eae8da751ccb6eef78d29e099b3ca03ac805a0601df6771e0a/_N4A7012__Victoria_Tomaschko.jpg" data-mid="227520529" border="0" src="https://freight.cargo.site/w/1000/i/9462057a4fcff3eae8da751ccb6eef78d29e099b3ca03ac805a0601df6771e0a/_N4A7012__Victoria_Tomaschko.jpg" /> <img width="3543" height="2363" width_o="3543" height_o="2363" data-src="https://freight.cargo.site/t/original/i/426c1f498fd0cc3d75b2c802c034522e423722ecb5af6b3910385fe8fe575578/_N4A6990__Victoria_Tomaschko.jpg" data-mid="227520519" border="0" src="https://freight.cargo.site/w/1000/i/426c1f498fd0cc3d75b2c802c034522e423722ecb5af6b3910385fe8fe575578/_N4A6990__Victoria_Tomaschko.jpg" /> The selected positions are examples of what it means to be an artist in illiberal contexts. Together, they allow for a global comparison of what authoritarian forces do not tolerate – their other – and how artistic resistance unfolds in different countries. Be it in Turkey, Iran, Russia, Myanmar or elsewhere. Consequently, the exhibition addresses questions which go far beyond the Martin Roth-Initiative itself. These issues are becoming increasingly relevant in the so-called West too, as threats to liberal democracy and in particular to artistic freedom are currently growing stronger here as well. <img width="3543" height="2363" width_o="3543" height_o="2363" data-src="https://freight.cargo.site/t/original/i/e0249e4097754131de1f2a806c6da14fd8a4f1ee806ab675a61f3e954d1ef351/_N4A7050__Victoria_Tomaschko.jpg" data-mid="227520539" border="0" src="https://freight.cargo.site/w/1000/i/e0249e4097754131de1f2a806c6da14fd8a4f1ee806ab675a61f3e954d1ef351/_N4A7050__Victoria_Tomaschko.jpg" /> We live in an age of image overproduction. Photographs are shared on the internet, mainly on social media, and often convey more information than words. (Yet, we are all aware of how an image can deceive or become a vehicle for fake news.) On our screens, one image quickly replaces another, making it easy to forget what we’ve seen shortly after. For many, the simple act of printing an image has become obsolete, as they rely on digital devices or cloud storage. In this context, printing—and publicly sharing an image on paper—becomes an act of memory. Posters have a long history in information dissemination, public statements, and activism. One need only think of the silkscreen productions of l’Atelier Populaire at the École des Beaux-Arts de Paris during the French revolution of May 1968. Additionally, figures like Klaus Staeck and Otl Aicher used posters not just to inform people about events but also to enhance civic education. In 2003 Šejla Kamerić&nbsp; released a poster that was exhibited in museums and in the public space. Denigrating sentences about Bosnian women are superimposed over a black and white portrait of the artist staring straight at the viewer. Taken from graffiti written by an unknown Dutch soldier in 1994–1995, a member of the Royal Netherlands Army who were responsible for protecting the Srebrenica safe area during the Yougoslavian wars, the sentences are revealing the violence of war and against women while the photographs delivers another reality. More recently, in 2019, a young man named Aslan Sagutdinov was arrested in Kazakhstan for holding a blank piece of paper in a public square. His silent protest was too much for the authorities, who futilely searched for a reason to keep him in jail. <img width="3543" height="2363" width_o="3543" height_o="2363" data-src="https://freight.cargo.site/t/original/i/bf3b8d08154df680ce3337f15dd9c41ae7400d19e5bf8bd973e81567b7a515a4/_N4A7232__Victoria_Tomaschko.jpg" data-mid="227520594" border="0" src="https://freight.cargo.site/w/1000/i/bf3b8d08154df680ce3337f15dd9c41ae7400d19e5bf8bd973e81567b7a515a4/_N4A7232__Victoria_Tomaschko.jpg" /> <img width="3543" height="2363" width_o="3543" height_o="2363" data-src="https://freight.cargo.site/t/original/i/3d6832403226ed4365477cbc8c0f5d0cdd7dd96b8a4858cb8b069b0ee165df82/_N4A7114__Victoria_Tomaschko.jpg" data-mid="227520563" border="0" src="https://freight.cargo.site/w/1000/i/3d6832403226ed4365477cbc8c0f5d0cdd7dd96b8a4858cb8b069b0ee165df82/_N4A7114__Victoria_Tomaschko.jpg" /> <img width="3543" height="2363" width_o="3543" height_o="2363" data-src="https://freight.cargo.site/t/original/i/b50ab78c463426d8652436326bb1669f2636e0e36e2a992b521c21387f391af9/_N4A7003__Victoria_Tomaschko.jpg" data-mid="227520526" border="0" src="https://freight.cargo.site/w/1000/i/b50ab78c463426d8652436326bb1669f2636e0e36e2a992b521c21387f391af9/_N4A7003__Victoria_Tomaschko.jpg" /> <img width="3543" height="2363" width_o="3543" height_o="2363" data-src="https://freight.cargo.site/t/original/i/e5db566d5512caed8d92fe5f29b094599bb1f135ca9023ad66468eadacfebb0d/_N4A7148__Victoria_Tomaschko.jpg" data-mid="227520571" border="0" src="https://freight.cargo.site/w/1000/i/e5db566d5512caed8d92fe5f29b094599bb1f135ca9023ad66468eadacfebb0d/_N4A7148__Victoria_Tomaschko.jpg" /> <img width="3543" height="2363" width_o="3543" height_o="2363" data-src="https://freight.cargo.site/t/original/i/380d3013eb2f7f5c571b501afdab2f8305ad120a0e5eb869744b238f9ac84a9a/_N4A7170__Victoria_Tomaschko.jpg" data-mid="227520580" border="0" src="https://freight.cargo.site/w/1000/i/380d3013eb2f7f5c571b501afdab2f8305ad120a0e5eb869744b238f9ac84a9a/_N4A7170__Victoria_Tomaschko.jpg" /> <img width="3543" height="2363" width_o="3543" height_o="2363" data-src="https://freight.cargo.site/t/original/i/ddbd47bb16ddafe8d9e489315e71b339a0e440570b0606c7621db34d16e1c7da/_N4A7225__Victoria_Tomaschko.jpg" data-mid="227520592" border="0" src="https://freight.cargo.site/w/1000/i/ddbd47bb16ddafe8d9e489315e71b339a0e440570b0606c7621db34d16e1c7da/_N4A7225__Victoria_Tomaschko.jpg" /> The fellows are asked to create or select an existing photograph, poem, drawing, or artwork that can be printed as an A1 poster. They also add a brief text (around 500 characters) to explain their choice, provide context, and share the idea behind the image. The questions we explore are: What does this image reveal about your country of origin? What circumstances led to your exile? Can an image convey radical changes in life? What does it mean to be creative in an authoritarian or repressive context? Those questions — and others defined by the curators — helped the participants reflect the topics and keywords that federate the Martin Roth Initiative and its activities. All posters, printed in a run of 100 copies in A1 dimensions (84.1 x 59.4 cm), are available for free to visitors of the exhibition. The exhibition — and the messages of the participtants — leave the gallery space to enter private homes, the public space, and exist outside of the traditional white cube. <img width="3543" height="2363" width_o="3543" height_o="2363" data-src="https://freight.cargo.site/t/original/i/53debab47126a99da1ffbb91426b0ab489ff00bf8607d3b32b816c06de728b17/_N4A7244__Victoria_Tomaschko.jpg" data-mid="227520597" border="0" src="https://freight.cargo.site/w/1000/i/53debab47126a99da1ffbb91426b0ab489ff00bf8607d3b32b816c06de728b17/_N4A7244__Victoria_Tomaschko.jpg" /> <img width="3543" height="2363" width_o="3543" height_o="2363" data-src="https://freight.cargo.site/t/original/i/0b6af6f1f9efa1165408e52de5c6906e16155e0c555bfa78966dc74e07da6e9b/_N4A7181__Victoria_Tomaschko.jpg" data-mid="227520582" border="0" src="https://freight.cargo.site/w/1000/i/0b6af6f1f9efa1165408e52de5c6906e16155e0c555bfa78966dc74e07da6e9b/_N4A7181__Victoria_Tomaschko.jpg" /> <img width="3543" height="2363" width_o="3543" height_o="2363" data-src="https://freight.cargo.site/t/original/i/f7a0e24b98861f63ad50138d6a15908f21f56bb4c3e9737086236104fcc23f48/_N4A7188__Victoria_Tomaschko.jpg" data-mid="227520585" border="0" src="https://freight.cargo.site/w/1000/i/f7a0e24b98861f63ad50138d6a15908f21f56bb4c3e9737086236104fcc23f48/_N4A7188__Victoria_Tomaschko.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/a0db66ea81c07eb58f365c1a203ba147c4d8c7b9ee85b51bd5bbf42f140b62bf/IMG_5159__Victoria_Tomaschko.jpg" data-mid="227417689" border="0" src="https://freight.cargo.site/w/1000/i/a0db66ea81c07eb58f365c1a203ba147c4d8c7b9ee85b51bd5bbf42f140b62bf/IMG_5159__Victoria_Tomaschko.jpg" /> <img width="4961" height="3508" width_o="4961" height_o="3508" data-src="https://freight.cargo.site/t/original/i/00b553051823ad6a1c2488ab95b1100c5f4358695443b5c23e8a24a6a0010359/ifa-plan.jpg" data-mid="227522609" border="0" src="https://freight.cargo.site/w/1000/i/00b553051823ad6a1c2488ab95b1100c5f4358695443b5c23e8a24a6a0010359/ifa-plan.jpg" /> <img width="4961" height="3508" width_o="4961" height_o="3508" data-src="https://freight.cargo.site/t/original/i/cb287408105da6f693c7f784079536ecd5dee4ee7b5057f2144b11204b6b9569/ifa-stands.jpg" data-mid="226526382" border="0" src="https://freight.cargo.site/w/1000/i/cb287408105da6f693c7f784079536ecd5dee4ee7b5057f2144b11204b6b9569/ifa-stands.jpg" /> Once We Were Trees, Now We Are Birdsifa-Galerie, Berlin February 20, 2025 — June 6, 2025&nbsp; Curated by Emrah Gökdemir, Anna Karpenko, Muhammad Salah, and Thibaut de Ruyter Architecture: Thibaut de RuyterArtists: Ali Abdollahi, Shahd Alshamali, Altaluna Art Group, Andrey Anro, Veli Başyiğit with Ali Doğan Çetin, Kholoud Bidak, Dante Buu, Cagdas Erdogan, Elisabete Finger, Sujatro Ghosh, Eythar Gubara, Mikhail Gulin, Salih Gürkan Çakar, Zeynep Güzel, Salima Hamrini, Uladzimir Hramovich, Nabila Horakhsh, Maikon K, Manmeet Kaur, Victoria Lomasko, Tetiana Malinovska, Reihaneh Mehrad, Akifa Mian, E. N. Mirembe, Ebru Nihan Celkan, Uygar Önder Simsek, Ula Osman, Ramin Rahman, Ruhul Robin Khan, Shahrbanoo Sadat, Sema Semih, İpek Seyalıoğlu, Barış Seyitvan, Olga Shparaga with Marina Naprushkina, Antanina Slabodchykava, Faieqa Sultani, Ma Thida, Zinnure Türe, Razi Uddin, Igor Vidor, Oksana Yushko, Natalia Zaitseva, Vahid Zarezadeh, ZIP Group (Vasily Subbotin and Stepan Subbotin with Evgeny Rimkevich) A cooperation between the Martin Roth-Initiative, ifa-Galerie Berlin and Goethe-Institut im Exil https://thibautderuyter.com/2025-the-name-of-samarkand Tue, 18 Mar 2025 05:10:13 +0000 thibautderuyter https://thibautderuyter.com/2025-the-name-of-samarkand the name of samarkand The exhibition “The Name of Samarkand” explores the perception of the city in world cultures. Presenting more than fifty objects—including books, records, a film, a movie poster or perfumes—it demonstrates that Samarkand has inspired and continues to inspire many creative people, even those who have never visited it. These individuals use its poetic name and the images it evokes in their minds as a source of inspiration. <img width="4950" height="3300" width_o="4950" height_o="3300" data-src="https://freight.cargo.site/t/original/i/fe9475e939955062af366841fdcddb0fbfb5bf4a778b9b5526ea4390a23faac4/the-name-of-samarkand-by-katerina-kuznetsova_01.jpg" data-mid="228470250" border="0" src="https://freight.cargo.site/w/1000/i/fe9475e939955062af366841fdcddb0fbfb5bf4a778b9b5526ea4390a23faac4/the-name-of-samarkand-by-katerina-kuznetsova_01.jpg" /> Few cities have names that carry such strong mythology, and Samarkand is one of them. New York is synonymous with skyscrapers, Paris evokes a romantic atmosphere, Berlin symbolises the Cold War, and Rome is characterised by millennia-old monuments. Similarly, Samarkand conjures images of the Silk Road, an Orient of yellow sand and blue ceramic tiles, a distant oasis in the desert and the exotic Central Asia. <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/1b72aaa07404d7a48a7e7103a11240778ef946216988fa485398e6873dbe6ede/the-name-of-samarkand-by-katerina-kuznetsova_19.jpg" data-mid="228408442" border="0" src="https://freight.cargo.site/w/1000/i/1b72aaa07404d7a48a7e7103a11240778ef946216988fa485398e6873dbe6ede/the-name-of-samarkand-by-katerina-kuznetsova_19.jpg" /> <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/a82c47d13a7764d50cfb07582c81a13d13e59a280375ff7a37d5d255b9754de8/the-name-of-samarkand-by-katerina-kuznetsova_07.jpg" data-mid="228408430" border="0" src="https://freight.cargo.site/w/1000/i/a82c47d13a7764d50cfb07582c81a13d13e59a280375ff7a37d5d255b9754de8/the-name-of-samarkand-by-katerina-kuznetsova_07.jpg" /> Samarkand has served as an inspiration for numerous cultural creations worldwide. Hugo Pratt used it in the title of one of his Corto Maltese comic books, and the luxury brand Hermès named one of its fragrances “Poivre Samarcande”. A Hollywood film included the city's name, and in the 1970s, a Japanese composer named experimental electronic music after it. There are also ceramic plates, novels and board games that feature Samarkand. However, all these uses of the city's name come from outsiders, filled with clichés, expectations and fantasies. It is an image onto which people project their dreams. <img width="4950" height="3300" width_o="4950" height_o="3300" data-src="https://freight.cargo.site/t/original/i/a74e25495a94c196af4b1eb336bda39333ced03e8b96e0f285bd3770c534e761/the-name-of-samarkand-by-katerina-kuznetsova_26.jpg" data-mid="228408449" border="0" src="https://freight.cargo.site/w/1000/i/a74e25495a94c196af4b1eb336bda39333ced03e8b96e0f285bd3770c534e761/the-name-of-samarkand-by-katerina-kuznetsova_26.jpg" /> The exhibition features more than 50 objects — books, posters, records, perfumes, board games, films, and much more. These items, collected from all corners of the globe, tell the story of how Samarkand became a symbol of dreams and inspiration. How can the name of a city become a brand? What is the connection between the images we create in our minds and the reality we physically experience? Are clichés and stereotypes more influential than reality itself? Is it possible to “colonize” an image, a mirage, a dream? These questions are open for exploration at the exhibition, where visitors will analyze them and experience them firsthand. <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/b0af6683a4b45b54f582073440ec409e67249d2193383b1d7d0fc66b24ab8e87/the-name-of-samarkand-by-katerina-kuznetsova_53.jpg" data-mid="228408476" border="0" src="https://freight.cargo.site/w/1000/i/b0af6683a4b45b54f582073440ec409e67249d2193383b1d7d0fc66b24ab8e87/the-name-of-samarkand-by-katerina-kuznetsova_53.jpg" /> <img width="4950" height="3300" width_o="4950" height_o="3300" data-src="https://freight.cargo.site/t/original/i/cf179214986cc01de3436097eb29ac312477bcdc99a873b215d1cd40fc648879/the-name-of-samarkand-by-katerina-kuznetsova_56.jpg" data-mid="228408479" border="0" src="https://freight.cargo.site/w/1000/i/cf179214986cc01de3436097eb29ac312477bcdc99a873b215d1cd40fc648879/the-name-of-samarkand-by-katerina-kuznetsova_56.jpg" /> <img width="4950" height="3300" width_o="4950" height_o="3300" data-src="https://freight.cargo.site/t/original/i/071ca133c9e44fe8fead9327b2182bfe19599dd9033948e067c062dec5494476/the-name-of-samarkand-by-katerina-kuznetsova_55.jpg" data-mid="228408478" border="0" src="https://freight.cargo.site/w/1000/i/071ca133c9e44fe8fead9327b2182bfe19599dd9033948e067c062dec5494476/the-name-of-samarkand-by-katerina-kuznetsova_55.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/6ffd9cb69c933c02201145021e97914ea3ef5ea47af40b3cc76c03298f22aca4/the-name-of-samarkand-by-katerina-kuznetsova_54.jpg" data-mid="228408477" border="0" src="https://freight.cargo.site/w/1000/i/6ffd9cb69c933c02201145021e97914ea3ef5ea47af40b3cc76c03298f22aca4/the-name-of-samarkand-by-katerina-kuznetsova_54.jpg" /> <img width="4950" height="3300" width_o="4950" height_o="3300" data-src="https://freight.cargo.site/t/original/i/3f4c2e20f08e61c75858a83c906c6eca861fa7c7f733e285b57391e40d557b6c/the-name-of-samarkand-by-katerina-kuznetsova_40.jpg" data-mid="228408463" border="0" src="https://freight.cargo.site/w/1000/i/3f4c2e20f08e61c75858a83c906c6eca861fa7c7f733e285b57391e40d557b6c/the-name-of-samarkand-by-katerina-kuznetsova_40.jpg" /> <img width="4950" height="3300" width_o="4950" height_o="3300" data-src="https://freight.cargo.site/t/original/i/46b8eadfe14aad3d614eb87ffae260cf4ea66f22f66b9899c7cc7b8998997d61/the-name-of-samarkand-by-katerina-kuznetsova_42.jpg" data-mid="228408465" border="0" src="https://freight.cargo.site/w/1000/i/46b8eadfe14aad3d614eb87ffae260cf4ea66f22f66b9899c7cc7b8998997d61/the-name-of-samarkand-by-katerina-kuznetsova_42.jpg" /> you can download the complete publication that accompanies the exhibition here! <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/3be04082bd08d4b3a4928c20eef0116064817d47212b0d5fc5072476937123db/the-name-of-samarkand-by-katerina-kuznetsova_04.jpg" data-mid="228408427" border="0" src="https://freight.cargo.site/w/1000/i/3be04082bd08d4b3a4928c20eef0116064817d47212b0d5fc5072476937123db/the-name-of-samarkand-by-katerina-kuznetsova_04.jpg" /> <img width="4950" height="3300" width_o="4950" height_o="3300" data-src="https://freight.cargo.site/t/original/i/cc4dbafbe5e961191322f21b57e87d188c5ef290fab57c4620397d828df7f546/the-name-of-samarkand-by-katerina-kuznetsova_48.jpg" data-mid="228408471" border="0" src="https://freight.cargo.site/w/1000/i/cc4dbafbe5e961191322f21b57e87d188c5ef290fab57c4620397d828df7f546/the-name-of-samarkand-by-katerina-kuznetsova_48.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/1370717b4fc38c2e55e50a331ba775a02a0fd0ad367a08b85185a25ec1bf5118/the-name-of-samarkand-by-katerina-kuznetsova_30.jpg" data-mid="228408453" border="0" src="https://freight.cargo.site/w/1000/i/1370717b4fc38c2e55e50a331ba775a02a0fd0ad367a08b85185a25ec1bf5118/the-name-of-samarkand-by-katerina-kuznetsova_30.jpg" /> The Name of SamarkandArt Station —&nbsp;Silk Road International University of Tourism and Cultural Heritage,&nbsp;Samarkand (Uzbekistan) Curated by: Thibaut de Ruyter Architecture: Dona Kulmatova &amp; Thibaut de RuyterSupported by the Goethe-Institut, Uzbekistan and in cooperation with the Central Asia Art and Culture Programme (CAACP) of the Swiss Agency for Development and Cooperation (SDC). https://thibautderuyter.com/2023-back-to-the-gorges-of-balkan Fri, 23 Jun 2023 08:02:40 +0000 thibautderuyter https://thibautderuyter.com/2023-back-to-the-gorges-of-balkan Back to the Gorges of Balkan Did the art scene in Kosovo radically change during the last twenty years? Do artists produce the same kind of artworks repeatedly? Does their art evolve with the political situation that surrounds them or the places where they exhibit? These questions - and a few more - are the starting point of “Back to the Gorges of Balkan.” <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/42a6cfbe221d1b4a2594e2212e67cffb3b426e8a27d89e69ebc2d27ce3f75ba5/back-to_04.jpg" data-mid="187155141" border="0" src="https://freight.cargo.site/w/1000/i/42a6cfbe221d1b4a2594e2212e67cffb3b426e8a27d89e69ebc2d27ce3f75ba5/back-to_04.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/67978150dfa349816d44f22faded517df564c1904edde6836c7586a744f2d4a8/back-to_06.jpg" data-mid="187155143" border="0" src="https://freight.cargo.site/w/1000/i/67978150dfa349816d44f22faded517df564c1904edde6836c7586a744f2d4a8/back-to_06.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/5ef686b9715f63da66485358bc1d7c998b14a7fe92745190d70e4a5953555052/back-to_15.jpg" data-mid="187155152" border="0" src="https://freight.cargo.site/w/1000/i/5ef686b9715f63da66485358bc1d7c998b14a7fe92745190d70e4a5953555052/back-to_15.jpg" /> In 2003, the famous German curator René Block organized a large exhibition in Kassel, featuring no less than 90 artists from ex-Yugoslavia, Albania, Turkey, Greece, Bulgaria, and Romania. The exhibition, titled “In den Schluchten des Balkan” [In the Gorges of Balkan], borrowed its name from a novel written by Karl May in 1892. The title served to emphasize, with irony, the fact that Western Europe was finally taking notice of a rather unknown art scene and territory. Exactly twenty years later, we reconstruct the participation of some of the artists from Kosovo in Galeria 17, presenting artworks that were displayed in Germany to the visitors in Prishtina. It is a unique opportunity to discover early videos or installations from renowned Kosovar artists, explore the archive of a seminal exhibition, and see what has changed (or not) in the local art scene over the last two decades. Out of the seven participants from Kosovo in the 2003 project, four have agreed to delve into their archives and reactivate their artworks. <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/a2a9b7cfa2ee63ce1264f363fbb24a2ebd652b62e9573cf14cbcd385c1b8406f/back-to_31_x.jpg" data-mid="191569951" border="0" src="https://freight.cargo.site/w/1000/i/a2a9b7cfa2ee63ce1264f363fbb24a2ebd652b62e9573cf14cbcd385c1b8406f/back-to_31_x.jpg" /> In his work “Face to Face” (2003), Dren Maliqi imagines the impossible meeting of Elvis Presley (1935-1977) with Adem Jashari (1955-1998). The rock star, as depicted by Andy Warhol, points his gun at the hero and victim of the Kosova liberation war. Two personalities face each other - the first from the history of pop culture and American art, the second from a violent reality and media coverage. Shkëlzen Maliqi wrote in the original catalogue from the Kassel exhibition: “The essential gesture of heroes emphasized in this artwork is related to the weapons held on alert, as a paradoxically violent gesture that ensures the safety and dignity of individuals and societies constantly facing violent threats. As for the heroic liberator Adem Jashari, the irony here consists of the transformation from an outstanding and tragic figure into a serialized and ordinary icon for mass consumption, just like a show business star”. In this new presentation, Dren Maliqi adds a silkscreen print from the reproduction of his artwork in newspapers, symbolizing the dissolution of images over time. <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/e4eb4a789b54ff68c504ea2d2a6770ea302deb47557759036675a638b52fc742/back-to_19.jpg" data-mid="187155170" border="0" src="https://freight.cargo.site/w/1000/i/e4eb4a789b54ff68c504ea2d2a6770ea302deb47557759036675a638b52fc742/back-to_19.jpg" /> Merita Harxhi-Koci, who is now a famous fashion designer in Prishtina, created in 2003 a poster for a fictive election campaign. Dressed in an official manner, like all politicians, she poses seriously in front of the Albanian flag, running “for President of Kosova” under the “Contemporary Art Party.” At that time, it was a statement reflecting the uncertain status of the nation (Kosovo gained its independence only in 2008). The remarkable aspect of this artwork is the realization that nothing has truly changed in the aesthetics of political campaigns over the past 20 years - executives still present themselves with the same kind of outfits, hairstyles, and smiles. The artistic fiction has become reality, as the country had a woman president in 2010s, Atifete Jahjaga, and is now ruled by another, Vjosa Osmani. It seems as though Merita Harxhi-Koci, in her feminist claim, was foreseeing the future. <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/a6b628bdc83d14f52134a5be1a4a372ccfda096d939135937e607be4582b3f15/back-to_22.jpg" data-mid="187155183" border="0" src="https://freight.cargo.site/w/1000/i/a6b628bdc83d14f52134a5be1a4a372ccfda096d939135937e607be4582b3f15/back-to_22.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/7fc7fedcbdf6cf92fe2ab1792bde8c6805b7f0b0af9cb139f609c91a1f4abc9a/back-to_24.jpg" data-mid="187155206" border="0" src="https://freight.cargo.site/w/1000/i/7fc7fedcbdf6cf92fe2ab1792bde8c6805b7f0b0af9cb139f609c91a1f4abc9a/back-to_24.jpg" /> Driton Hajredini asked a rather simple question in 2003: "Who killed the painting?" The title of his installation, as well as the installation itself, refers to a crime scene. A line on the floor indicates the position of a rectangular-shaped dead body, while a strip of police tape keeps the visitors at a distance. Painting was indeed ‘assassinated’ multiple times during the 20th century, not only by the conceptual invention of Ready-Made but also by photography, video art, sound art, and performance. All these mediums and revolutions have contributed to the existence of contemporary art as we know it. However, painting remains a highly successful technique in the art market, and many museum visitors still prefer it over other forms. Twenty years later, the case is still open, and nobody knows who the murderer was or where the body lies, which was still in the exhibition space just a few minutes ago... <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/987a5c61dcca008c70261f63911eddf05300d90821f4842f9a113cf7dcd37a48/back-to_12.jpg" data-mid="187155149" border="0" src="https://freight.cargo.site/w/1000/i/987a5c61dcca008c70261f63911eddf05300d90821f4842f9a113cf7dcd37a48/back-to_12.jpg" /> Shortly before heading to Kassel, Jakup Ferri recorded a small video message from his family to René Block. His parents wished him great success in Germany, urging him to: be careful... in an unknown place, and hoping that he returns home after the exhibition. What could have been a simple joke was, of course, a pun on the significance of the German curator arriving in the remote Balkans and taking the enfant prodige to the big city, the vast continent, and the globalized art world. A similar irony can be seen in “Save me, Help me” (2003) - another video in which the young artist reflects on his work and presents it to potential collectors or curators. Obviously, the fact that a curator from the West came to select and exhibit artists from Kosovo was seen as an opportunity and a step toward a future career, but without naivety or false expectations. It even inspired them to create critical works about their situation. <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/a1bdbe15890751374a5a253f4455b8087e85d26137701081b956c1c20babc28c/merita-on-nato.jpg" data-mid="187155065" border="0" src="https://freight.cargo.site/w/1000/i/a1bdbe15890751374a5a253f4455b8087e85d26137701081b956c1c20babc28c/merita-on-nato.jpg" /> "In the Gorges of Balkan" was a play on the dangerous reputation the region held for the rest of Europe, shortly after the numerous wars that followed the collapse of Yugoslavia. It also drew on the mythology dating back to the Ottoman Empire. This exhibition, which brought an entirely new generation of artists to international visibility, has become a milestone in art history due to the quality of its curatorial research and the inventive artworks that depicted traumatic events, political uncertainties, and criticisms of the globalized art world. Looking at artworks produced 20 years ago today, it's amazing to see how relevant they still are. The artists not only created pieces that reflected their situation in their country but also expressed their understanding of the role they had to play in the Western art world. The importance of international curators (Jakup Ferri), the possibility of painting in contemporary art (Driton Hajredini), the aesthetics of political campaigns and the significance of the feminist struggle (Merita Harxhi-Koci), or the confrontation between different cultures and histories (Dren Maliqi) - not much has changed in the realm of contemporary art. This makes these artworks more necessary than ever. They are not merely testimonies or mere archives from a past situation or transitional period; they continue to live and question us about art and society. They are, in a sense, timeless, as all good artworks should be. <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/3b5923b4be04b59900ade759846d9ea1783c28c188b3c27dd5273ee81fcf6150/back-to_28.jpg" data-mid="187155217" border="0" src="https://freight.cargo.site/w/1000/i/3b5923b4be04b59900ade759846d9ea1783c28c188b3c27dd5273ee81fcf6150/back-to_28.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/ab8be9735113a5f3fb0187dc33667068defe6916ce41360545701ac040bdaf6a/back-to_36.jpg" data-mid="187155223" border="0" src="https://freight.cargo.site/w/1000/i/ab8be9735113a5f3fb0187dc33667068defe6916ce41360545701ac040bdaf6a/back-to_36.jpg" /> Back to the Gorges of BalkanGaleria 17, Prishtina (Kosovo)July 5 — September 15, 2023 Curated by Thibaut de RuyterArtists: Dren Maliqi, Jakup Ferri, Driton Hajredini and Merita Harxhi-Koci Supported by Kosovar Civil Society Foundation (KCSF) program ‘EJA Kosovo’, co-financed by the Swiss Agency for Development and Cooperation (SDC), Sweden, and Government of the Grand Duchy of Luxembourg.And with a special grant from Ministry of Culture, Youth and Sport and Culture Moves Europe - funded by the Creative Europe Programme of the European Union Implemented by the Goethe-Institut https://thibautderuyter.com/2023-was-ist-kunst-IRWIN Thu, 21 Sep 2023 15:35:55 +0000 thibautderuyter https://thibautderuyter.com/2023-was-ist-kunst-IRWIN Was ist Kunst, IRWIN? This exhibition focuses on the Slovenian artist collective IRWIN (Dušan Mandič, Miran Mohar, Andrej Savski, Roman Uranjek, Borut Vogelnik), which is celebrating its fortieth anniversary in 2023. In 1984 IRWIN – alongside the music group Laibach and the Scipion Nasice Sisters Theatre – became one of the founders of the meta-collectiv Neue Slowenische Kunst (NSK). Since 1983, IRWIN has been grappling with the art history of Easter Europe, specifically the ambivalent legacy of the historical avant-garde and its totalitarian successors – in other words, the dialectic of avant-garde and totalitarianism. Since the 1990s, the group has concentrated on a critical, iconoclastic examination of the art history of ‘Western modernism’. They playfully and cryptically juxtapose this with the ‘retro avant-garde’ of an ‘Eastern modernism’. The exhibition consists of two major chapters. The first exhibition chapter, curated by Thibaut de Ruyter, explores the black humour that is always present in IRWIN’s works. The other chapter, curated by Inke Arns, is dedicated to questions of state – and how IRWIN uses them to comment on contemporary issues such as migration. <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/b4cc2d4a54d4d390b86fb0542ded28fa4e589fb408e43a62bdf6d6566c80ae06/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstellungsansicht_Wandseite_Schwarzer_Humor_Foto_Jannis_Wiebusch_11.jpg" data-mid="191487655" border="0" src="https://freight.cargo.site/w/1000/i/b4cc2d4a54d4d390b86fb0542ded28fa4e589fb408e43a62bdf6d6566c80ae06/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstellungsansicht_Wandseite_Schwarzer_Humor_Foto_Jannis_Wiebusch_11.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/cd9bc9189e55883b28798d5e2482b81b70b064a345c8c65b003f74f24128ed87/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstellungsansicht_Foto_Jannis_Wiebusch_3.jpg" data-mid="191487637" border="0" src="https://freight.cargo.site/w/1000/i/cd9bc9189e55883b28798d5e2482b81b70b064a345c8c65b003f74f24128ed87/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstellungsansicht_Foto_Jannis_Wiebusch_3.jpg" /> <img width="2500" height="1668" width_o="2500" height_o="1668" data-src="https://freight.cargo.site/t/original/i/049a9208031e4dc68cc0654e09b87b7e7a1dba442bfe588c1ea1c923289cbd32/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstelungsansicht_Wandseite_Staatskunstler_Foto_Jannis_Wiebusch_2.jpg" data-mid="191487658" border="0" src="https://freight.cargo.site/w/1000/i/049a9208031e4dc68cc0654e09b87b7e7a1dba442bfe588c1ea1c923289cbd32/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstelungsansicht_Wandseite_Staatskunstler_Foto_Jannis_Wiebusch_2.jpg" /> Black Humour The term black humour became widely used after the publication of André Breton’s Anthologie de l’humour noir in 1940. Breton focused on literature, but black humour is now common in films, Internet memes, cartoons, art and family jokes. Like every form of humour, it is difficult to define – what makes me laugh might not work for someone of a different age, social background or culture, etc. – but generally we can say that it is underpinned by a serious, even desperate and pessimist stance. It observes the world as it is and, instead of passively accepting it, makes a joke of war, death, depression, oppression, ideology. It often mocks itself rather than attacking others. It is a provocative kind of humour that pushes the boundaries of bad taste, of permissible thoughts, and political correctness. With roots in literature, Surrealism and the interwar period, it does not shy away from absurdity and violence, from connecting seemingly unconnected events or facts, or from political criticism. The very definition of IRWIN’s art, you might say. <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/540aedb701b80eb7a5a93744c3b842565c38846ed1c77e9b9c92e38b7381d186/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstelungsansicht_Wandseite_Staatskunstler_Foto_Jannis_Wiebusch_15.jpg" data-mid="191487671" border="0" src="https://freight.cargo.site/w/1000/i/540aedb701b80eb7a5a93744c3b842565c38846ed1c77e9b9c92e38b7381d186/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstelungsansicht_Wandseite_Staatskunstler_Foto_Jannis_Wiebusch_15.jpg" /> A Matter of Taste and Theory The sociologist Pierre Bourdieu offered a new definition of the Marxist concept of capital by adding the adjectives ‘cultural’, ‘symbolic’ and ‘social’ to the term. But he also made it clear that (bad or good) taste, access to culture and understanding of art are determined by social class and family background. Whether we appreciate something or not is influenced by external factors and education. By manipulating the idea of (good) taste and explicitly quoting Bourdieu , IRWIN question not only their own geographical, historical and social origins but confront the world at large with its contradictions. But Bourdieu is not the only theoretician referenced in their art: IRWIN have famously dedicated pieces to the likes of Slavoj Žižek, Hugo Ball and Lenin. The notion of kitsch which is supposed to distinguish the clever and educated from the ignorant – plays a big role in their work as well, which use popular traditions and tropes (mountains, deer, folk costume...) to provoke the establishmen and the globalised contemporary art world. <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/4427ff322302a3b939f2a77a4126b86113e56e7e355f371f5a40af869bffbb2f/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Kapitel_Ich_war_es_nicht_er_wars_Foto_Jannis_Wiebusch.jpg1.jpg" data-mid="191487707" border="0" src="https://freight.cargo.site/w/1000/i/4427ff322302a3b939f2a77a4126b86113e56e7e355f371f5a40af869bffbb2f/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Kapitel_Ich_war_es_nicht_er_wars_Foto_Jannis_Wiebusch.jpg1.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/f30375786830cafb20201c510ac9558e902129b65d2a9a1921ee78ab5faa2c7a/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Kapitel_Ich_war_es_nicht_er_wars_Foto_Jannis_Wiebusch.jpg3.jpg" data-mid="191487709" border="0" src="https://freight.cargo.site/w/1000/i/f30375786830cafb20201c510ac9558e902129b65d2a9a1921ee78ab5faa2c7a/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Kapitel_Ich_war_es_nicht_er_wars_Foto_Jannis_Wiebusch.jpg3.jpg" /> TWINS On 1970s studio photos of young twins, a metal toy aeroplane emblazoned with IRWIN’s trademark black cross partly covers the image. This work is of course a direct reference to the September 11 attacks of the Twin Towers of the World Trade Center in New York. All of us have repeatedly watched the images of the two planes hitting the buildings, yet none has ever seen the victims. There exist a few terrifying videos showing falling bodies from afar, but historical documentation focuses on the burning buildings and crumbling towers – abstract depictions commonly found in Hollywood films. In IRWIN’s artwork, the children on the photographs become the casualties of the terrorist attack. The focus thus shifts to the human aspect of the tragedy, reminding us that besides the towers, human destinies have been shattered. The work’s (black) humour is provocative, yet it message is clear: several hundred people who were once smiling children lost their lives on that day. <img width="2500" height="1668" width_o="2500" height_o="1668" data-src="https://freight.cargo.site/t/original/i/a3922aa81a73d35ea7bb64f602bfe676a47d8efba133a7a6efc00943ef469ab2/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Kapitel_Zwillinge_Foto_Jannis_Wiebusch_2.jpg" data-mid="191487713" border="0" src="https://freight.cargo.site/w/1000/i/a3922aa81a73d35ea7bb64f602bfe676a47d8efba133a7a6efc00943ef469ab2/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Kapitel_Zwillinge_Foto_Jannis_Wiebusch_2.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/60853429076c420ab2ee97c405f613449837560a5cfb51c3a6ad47b7edb2ba87/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Kapitel_Zwillinge_Foto_Jannis_Wiebusch.jpg" data-mid="191487714" border="0" src="https://freight.cargo.site/w/1000/i/60853429076c420ab2ee97c405f613449837560a5cfb51c3a6ad47b7edb2ba87/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Kapitel_Zwillinge_Foto_Jannis_Wiebusch.jpg" /> The Power of the Frame Frames are an integral part of IRWIN’s aesthetic and artistic production. They function as tool for appropriation but also as an identification or signature. In some works, IRWIN push the concept even further by creatin a ‘frame in a frame’, or mise en abyme. Recently, they applied their iconic black frames on the windows of a house in Ljubljana, supporting the suggestion that IRWIN could frame anything to make it their artwork. This echoes Marcel Duchamp’s observation that if you put something on a plinth in a museum, it becomes an artwork. By doing so, they invite us to reflect on what makes an artwork. The fact that is it framed, signed and exhibited in an institution? What do we identify and recognise first: the frame or the painting? And once the concept of frame has been established, does it even need to ‘contain’ something? <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/54ad05beccdf43b372eec69e403e6ba2e895235a29bae12d653ec8bb426a1182/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstellungsansicht_Wandseite_Schwarzer_Humor_Foto_Jannis_Wiebusch_4.jpg" data-mid="191487648" border="0" src="https://freight.cargo.site/w/1000/i/54ad05beccdf43b372eec69e403e6ba2e895235a29bae12d653ec8bb426a1182/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstellungsansicht_Wandseite_Schwarzer_Humor_Foto_Jannis_Wiebusch_4.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/a2005a6b916e187e026f55b0603f3e8bbfa838ffb272374b47c390e005629fa6/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Detailansichten_Foto_Jannis_Wiebusch_8.jpg" data-mid="191487689" border="0" src="https://freight.cargo.site/w/1000/i/a2005a6b916e187e026f55b0603f3e8bbfa838ffb272374b47c390e005629fa6/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Detailansichten_Foto_Jannis_Wiebusch_8.jpg" /> Hommage(s) to the (Black) Square The Black Square – originally painted by Kasimir Malevich in 1915 – has been a recurrent motive in IRWIN’s production since the collective started working together in the 1980s. It is not only a reference to the long history of avant-gardes but also an icon in the spiritual sense of the term. By painting the Black Square printed on a tote bag of an American museum, IRWIN make fun of its appropriation for global merchandising. They have shown that you can also use Lego bricks to make a black square (suggesting that art can be child’s play sometimes) or use it as a moustache reminiscent of Charlie Chaplin/Adolf Hitler. What has the (black) square to do with (black) humour? The black square is an invitation to look beyond the surface, to reflect on the intellectual, conceptual or spiritual existence of artworks. To understand that even the most abstract of works is charged with thoughts and emotions those of its author but also those of historians, critics and viewers – and therefore becomes a matter of interpretation. <img width="2500" height="1668" width_o="2500" height_o="1668" data-src="https://freight.cargo.site/t/original/i/d1162790ca0fe7d01c0c027272e3b34330f2fa657b377a6bf73c7fafe4eb71eb/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Kapitel_Homagen_an_das_schwarze_Quadrat_Foto_Jannis_Wiebusch_1.jpg" data-mid="191487701" border="0" src="https://freight.cargo.site/w/1000/i/d1162790ca0fe7d01c0c027272e3b34330f2fa657b377a6bf73c7fafe4eb71eb/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Kapitel_Homagen_an_das_schwarze_Quadrat_Foto_Jannis_Wiebusch_1.jpg" /> ‘It’s not me, it’s him...’ One strategy to unsettle spectators consists of sowing doubts about the authorship of an artwork. During their long career, IRWIN have repeatedly collaborated with, or re-enacted works by, other artists. A photograph showing the collective alongside Marina Abramović was produced as an edition of three, signed respectively by the photographer, IRWIN and Abramović – the price of each work dictated by the renown or market value of its signee. But their play with references and names goes further: a Suprematist composition is painted in Gerhard Richter’s trademark blur while a Mondrian-like composition serves as the backdrop to a coffee cup or is associated with the Christian cross, emphasising the iconic power of early twentieth-century abstraction. IRWIN also pay homage to their predecessors, recreating important performances from the Slovenian OHO group, the original black-and-white documentation now appearing in colour. In all these works, what could be a simple joke becomes a critique of the art market or a way to shed light on lesser-known or forgotten practices. <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/2d75a38d2cc014034fd23b7b1eb5ee1431ca5a5f92a28f9727cbdbf657f78b2c/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstellungsansicht_Wandseite_Schwarzer_Humor_Foto_Jannis_Wiebusch_9.jpg" data-mid="191487653" border="0" src="https://freight.cargo.site/w/1000/i/2d75a38d2cc014034fd23b7b1eb5ee1431ca5a5f92a28f9727cbdbf657f78b2c/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstellungsansicht_Wandseite_Schwarzer_Humor_Foto_Jannis_Wiebusch_9.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/1eff9684e4c40b3487e65b578e8a6b2425f06abf31ed3b3bf70086e331e8e971/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Kapitel_Ich_war_es_nicht_er_war_es_Foto_Jannis_Wiebusch_1-ZOOM.jpg" data-mid="191697713" border="0" src="https://freight.cargo.site/w/1000/i/1eff9684e4c40b3487e65b578e8a6b2425f06abf31ed3b3bf70086e331e8e971/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Kapitel_Ich_war_es_nicht_er_war_es_Foto_Jannis_Wiebusch_1-ZOOM.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/98667c8b0c91ded270a035b3da33c32dbf27e0947b2449cb23658d8e1093f35a/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Kapitel_Geburt_einer_Nation_Foto_Jannis_Wiebusch_2-ZOOM.jpg" data-mid="191697793" border="0" src="https://freight.cargo.site/w/1000/i/98667c8b0c91ded270a035b3da33c32dbf27e0947b2449cb23658d8e1093f35a/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Kapitel_Geburt_einer_Nation_Foto_Jannis_Wiebusch_2-ZOOM.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/b0c46bd032cec4b691f3aa0d763bf3d00c4a1d1f09f2a05a6993ea42a79a8bc2/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstellungsansicht_Wandseite_Schwarzer_Humor_Foto_Jannis_Wiebusch_8.jpg" data-mid="191487652" border="0" src="https://freight.cargo.site/w/1000/i/b0c46bd032cec4b691f3aa0d763bf3d00c4a1d1f09f2a05a6993ea42a79a8bc2/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstellungsansicht_Wandseite_Schwarzer_Humor_Foto_Jannis_Wiebusch_8.jpg" /> Corpse of Art Kazimir Malevich died in Leningrad on 15 May 1935. His body lay in wake for several days in the House of the Artists’ Union before it was cremated and his ashes were buried under a tree in Nemchinovka, near Moscow. Nikolai Suetin, another Suprematist artist, organized Malevich’s funeral and designed his coffin – a cross-shape tin box decorated with a black square and a black circle. The artist’s corpse was surrounded by a selection of his paintings and white lilies. Family and friends came to pay their last respects – not only to the person but also to his art. The mourning became an exhibition in its own right, albeit a slightly uncanny one. In 2003, IRWIN built a perfect copy of Suetin’s coffin and exhibited it with a waxwork dummy as the Corpse of Art, a work that speaks of art history, but also of the absurdity and cruelty of exhibitions. A restaging of a famous exhibition, it is an ‘exhibition of an exhibition’ that retains all the bizarre and eccentric qualities of the original. <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/2e9ca3ddef6095fa0dace02f41a84d142d33397dcd423a894b79068958d3c6fd/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Corpse_of_Art_Foto_Jannis_Wiebusch1.jpg" data-mid="191487678" border="0" src="https://freight.cargo.site/w/1000/i/2e9ca3ddef6095fa0dace02f41a84d142d33397dcd423a894b79068958d3c6fd/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Corpse_of_Art_Foto_Jannis_Wiebusch1.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/5e5e1c5f4206bddbe22f2c66679b2dc5366912ef1b0238c12d7be180bdc19abc/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Corpse_of_Art_Foto_Jannis_Wiebusch4.jpg" data-mid="191487681" border="0" src="https://freight.cargo.site/w/1000/i/5e5e1c5f4206bddbe22f2c66679b2dc5366912ef1b0238c12d7be180bdc19abc/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Corpse_of_Art_Foto_Jannis_Wiebusch4.jpg" /> this piece was also shown here... <img width="4964" height="3508" width_o="4964" height_o="3508" data-src="https://freight.cargo.site/t/original/i/53a7fc11cd7099dd0666a1ef093276c65413fb09f6e5705d78d16ef88effd21b/-hmkv-plan-irwin-NEW.jpg" data-mid="191572287" border="0" src="https://freight.cargo.site/w/1000/i/53a7fc11cd7099dd0666a1ef093276c65413fb09f6e5705d78d16ef88effd21b/-hmkv-plan-irwin-NEW.jpg" /> State Artists (curated by Inke Arns) &amp; Was ist Kunst, Bernd und Hilla Becher?... <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/a6e098a464145249b70deee392a1fa552d133842ca60a5a0463c239373bb3558/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstelungsansicht_Wandseite_Staatskunstler_Foto_Jannis_Wiebusch_3.jpg" data-mid="191487659" border="0" src="https://freight.cargo.site/w/1000/i/a6e098a464145249b70deee392a1fa552d133842ca60a5a0463c239373bb3558/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstelungsansicht_Wandseite_Staatskunstler_Foto_Jannis_Wiebusch_3.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/2ae45e999acad0cb673ebbf673e150e37e9fb986c62340207adfb4ef55e099d9/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstelungsansicht_Wandseite_Staatskunstler_Foto_Jannis_Wiebusch_17.jpg" data-mid="191487673" border="0" src="https://freight.cargo.site/w/1000/i/2ae45e999acad0cb673ebbf673e150e37e9fb986c62340207adfb4ef55e099d9/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstelungsansicht_Wandseite_Staatskunstler_Foto_Jannis_Wiebusch_17.jpg" /> <img width="2500" height="1668" width_o="2500" height_o="1668" data-src="https://freight.cargo.site/t/original/i/51f2f50d4b94adb9c5d93932db53f4cb224542576d3b9a1c5ad38c516d493363/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstelungsansicht_Wandseite_Staatskunstler_Foto_Jannis_Wiebusch_7.jpg" data-mid="191487663" border="0" src="https://freight.cargo.site/w/1000/i/51f2f50d4b94adb9c5d93932db53f4cb224542576d3b9a1c5ad38c516d493363/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstelungsansicht_Wandseite_Staatskunstler_Foto_Jannis_Wiebusch_7.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/65d6757a0a1a6f3121f868ca7cc4b58bdc046efd1889647b91f2b0cfdcd9e9cc/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstelungsansicht_Wandseite_Staatskunstler_Foto_Jannis_Wiebusch_12.jpg" data-mid="191487668" border="0" src="https://freight.cargo.site/w/1000/i/65d6757a0a1a6f3121f868ca7cc4b58bdc046efd1889647b91f2b0cfdcd9e9cc/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstelungsansicht_Wandseite_Staatskunstler_Foto_Jannis_Wiebusch_12.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/141f9adbd2504b4b55616dad59681c692acb7ff8da209639b164995b5107bad4/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstelungsansicht_Wandseite_Staatskunstler_Foto_Jannis_Wiebusch_14.jpg" data-mid="191487670" border="0" src="https://freight.cargo.site/w/1000/i/141f9adbd2504b4b55616dad59681c692acb7ff8da209639b164995b5107bad4/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Ausstelungsansicht_Wandseite_Staatskunstler_Foto_Jannis_Wiebusch_14.jpg" /> <img width="2500" height="1668" width_o="2500" height_o="1668" data-src="https://freight.cargo.site/t/original/i/75593ede8c75368fc8402602d82ff8eb8e94201236a167bda1ac05841bde5fe0/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Kapitel_Geburt_einer_Nation_Foto_Jannis_Wiebusch_5.jpg" data-mid="191487699" border="0" src="https://freight.cargo.site/w/1000/i/75593ede8c75368fc8402602d82ff8eb8e94201236a167bda1ac05841bde5fe0/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_Kapitel_Geburt_einer_Nation_Foto_Jannis_Wiebusch_5.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/5d09c798aaeffed3acbe7b60da5720357929e3a4115a2cdc739afeaff2a219be/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_U_4_Vertikale_Was_ist_Kunst_Hilla_und_Bernd_Becher_Foto_Jannis_Wiebusch_1.jpg" data-mid="191487722" border="0" src="https://freight.cargo.site/w/1000/i/5d09c798aaeffed3acbe7b60da5720357929e3a4115a2cdc739afeaff2a219be/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_U_4_Vertikale_Was_ist_Kunst_Hilla_und_Bernd_Becher_Foto_Jannis_Wiebusch_1.jpg" /> <img width="2500" height="1668" width_o="2500" height_o="1668" data-src="https://freight.cargo.site/t/original/i/0a209102e23af5d1b5bf1a7cf2cd23b71eadfe805d217742911ca98cf13659c6/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_U_4_Vertikale_Was_ist_Kunst_Hilla_und_Bernd_Becher_Foto_Jannis_Wiebusch_4.jpg" data-mid="191487726" border="0" src="https://freight.cargo.site/w/1000/i/0a209102e23af5d1b5bf1a7cf2cd23b71eadfe805d217742911ca98cf13659c6/Was-ist-Kunst--IRWIN_HMKV_im_Dortmunder_U_U_4_Vertikale_Was_ist_Kunst_Hilla_und_Bernd_Becher_Foto_Jannis_Wiebusch_4.jpg" /> Was ist Kunst, IRWIN?HMKV in Dortmunder U, Dortmund September 09, 2023 — January 28, 2024 Curated by Inke Arns &amp; Thibaut de Ruyter Architecture: Thibaut de RuyterArtists: IRWIN (Dušan Mandič, Miran Mohar, Andrej Savski, Roman Uranjek, Borut Vogelnik) Supported by Kunststiftung NRW, in cooperation with SKICA Berlin (Slowenisches Kulturinformationszentrum), FHI (Fritz Hüser Institut) and Museum Ostwall, Dortmund https://thibautderuyter.com/2021-ochumelaya-vystavka Thu, 22 Jul 2021 08:40:17 +0000 thibautderuyter https://thibautderuyter.com/2021-ochumelaya-vystavka Ochumelaya Vystavka — The Fine Hands Show The biennale Ochumelaya Vystavka — The Fine Hands Show is an exhibition of works conceived by 34 international artists in Berlin and implemented by more than one hundred producers in Krasnoyarsk (Siberia) based on their instructions. Through its remote production process, the exhibition acknowledges the realities of art-making since the invention of the ready-made at the start of the twentieth century and the rise of conceptual practices in the 1970s. But although modern art revolutionised the way art is made by postulating that conceiver and producer need not be identical, many museumgoers still perceive the works on display as unique, handmade objects. <img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/2492664e3f6d806029c826003a26b4d7b119c2d16ef0914c42c9140f8373cbc3/1F2A2262.jpg" data-mid="127351385" border="0" src="https://freight.cargo.site/w/1000/i/2492664e3f6d806029c826003a26b4d7b119c2d16ef0914c42c9140f8373cbc3/1F2A2262.jpg" /> <img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/b7fac3dfb086133c9d1fcb48d2dcc4e52796be03bd800d7868d91565b3045ec0/1F2A2697.jpg" data-mid="127351390" border="0" src="https://freight.cargo.site/w/1000/i/b7fac3dfb086133c9d1fcb48d2dcc4e52796be03bd800d7868d91565b3045ec0/1F2A2697.jpg" /> <img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/a47e5257a024ac106eaf6a41d2cbfbf305512d1f1e4947bfe4058002df2d5d89/1F2A3468.jpg" data-mid="127351395" border="0" src="https://freight.cargo.site/w/1000/i/a47e5257a024ac106eaf6a41d2cbfbf305512d1f1e4947bfe4058002df2d5d89/1F2A3468.jpg" /> <img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/d5f13ee880f1c30e29082384e8ffa39e7cedb7175af0df418bcfa08653658688/1F2A2518.jpg" data-mid="127351388" border="0" src="https://freight.cargo.site/w/1000/i/d5f13ee880f1c30e29082384e8ffa39e7cedb7175af0df418bcfa08653658688/1F2A2518.jpg" /> In a nod to the 1971 exhibition Pier 18 at the Museum of Modern Art in New York – in which photographer Harry Shunk ‘acted out’ the works on the participants’ instructions – we asked artists from various disciplines, including painting, sound and video art, sculpture, fashion design, and photography, to formulate directions for the production of an artwork. Each provided one to ten standard pages of more or less detailed, more or less poetic, more or less feasible instructions. The makers in Krasnoyarsk, including artists, craftsmen and laypeople, in turn used the assignments as an opportunity to showcase their personal abilities and explore new techniques. <img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/c52a241e7b86b2967ffc1d42494a6fa1ac6d4365adb41ccba7cdd537db9f6003/1F2A2744.jpg" data-mid="127351391" border="0" src="https://freight.cargo.site/w/1000/i/c52a241e7b86b2967ffc1d42494a6fa1ac6d4365adb41ccba7cdd537db9f6003/1F2A2744.jpg" /> <img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/040c11b5a62b8b86755effb782153025692310f97ecd8243ac3fafea61148b59/1F2A3131-2.jpg" data-mid="127351392" border="0" src="https://freight.cargo.site/w/1000/i/040c11b5a62b8b86755effb782153025692310f97ecd8243ac3fafea61148b59/1F2A3131-2.jpg" /> <img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/51cf708c2e8177af4cf9caf7a715c357ff4dfb05ae0aa8282f509390a003d2d2/1F2A2463.jpg" data-mid="127351387" border="0" src="https://freight.cargo.site/w/1000/i/51cf708c2e8177af4cf9caf7a715c357ff4dfb05ae0aa8282f509390a003d2d2/1F2A2463.jpg" /> <img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/bc071f02e8bddc7d9fa86e9eeb1827e60ad9cb6c9fa5dc36d73dcaeeb0fc5ee0/1F2A3747.jpg" data-mid="127351397" border="0" src="https://freight.cargo.site/w/1000/i/bc071f02e8bddc7d9fa86e9eeb1827e60ad9cb6c9fa5dc36d73dcaeeb0fc5ee0/1F2A3747.jpg" /> <img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/16931abe1dae1b6b31476ce1192d039f9aabcc2a28f788b7c0c179b73a86d5d9/1F2A2441_1772.jpg" data-mid="127351400" border="0" src="https://freight.cargo.site/w/1000/i/16931abe1dae1b6b31476ce1192d039f9aabcc2a28f788b7c0c179b73a86d5d9/1F2A2441_1772.jpg" /> A playful and skilful exhibition that reflects on transmission, copyright and authorship, Ochumelaya Vystavka — The Fine Hands Show is also a tongue-in-cheek commentary on the vagaries of international exhibitions in an age of global travel restrictions and reduced carbon emissions.&nbsp; <img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/edbeb83f12c969f25c8bf0191ced91b1df08e245f71910841e718d6e16dd2c99/1F2A2529_clean.jpg" data-mid="127351403" border="0" src="https://freight.cargo.site/w/1000/i/edbeb83f12c969f25c8bf0191ced91b1df08e245f71910841e718d6e16dd2c99/1F2A2529_clean.jpg" /> <img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/4acb32bc635d8ff68abc3f7b3554e8e38590228dff14fb8257f302cee60b6880/1F2A3317.jpg" data-mid="127351393" border="0" src="https://freight.cargo.site/w/1000/i/4acb32bc635d8ff68abc3f7b3554e8e38590228dff14fb8257f302cee60b6880/1F2A3317.jpg" /> <img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/bad3588c9bdca152987ae2ce8a1602219ed24c84bf06d2eef1f16527b4e40ab9/IGR02025.jpg" data-mid="127351398" border="0" src="https://freight.cargo.site/w/1000/i/bad3588c9bdca152987ae2ce8a1602219ed24c84bf06d2eef1f16527b4e40ab9/IGR02025.jpg" /> <img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/16673d3157c8b76d0a5655af7818a7de649967796fe087b34a7a16a111c87c60/1F2A3348.jpg" data-mid="127351394" border="0" src="https://freight.cargo.site/w/1000/i/16673d3157c8b76d0a5655af7818a7de649967796fe087b34a7a16a111c87c60/1F2A3348.jpg" /> <img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/7b72880419125074d8880523c4e223c4fb097c25d40ab18a48e8c543e6970f82/1F2A3565.jpg" data-mid="127351396" border="0" src="https://freight.cargo.site/w/1000/i/7b72880419125074d8880523c4e223c4fb097c25d40ab18a48e8c543e6970f82/1F2A3565.jpg" /> <img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/86be9ef3faff5d121f2cb71bf2fa672fdae9a6550588afb4c850c6fd28f6ffbf/IGR02327.jpg" data-mid="127351399" border="0" src="https://freight.cargo.site/w/1000/i/86be9ef3faff5d121f2cb71bf2fa672fdae9a6550588afb4c850c6fd28f6ffbf/IGR02327.jpg" /> Ochumelaya Vystavka 14th Krasnoyarsk Museum Biennale Museum Centre ‘Ploschad Mira’, Krasnoyarsk (Siberia) June 17 — October 31, 2021 Conceived and curated by Thibaut de Ruyter (Berlin), with the assistance of Anastasiya Bezvershuk (Krasnoyarsk). Initiated by Per Brandt, Director of the Goethe-Institut Novosibirsk with the support of the Germany Year in Russia 2020/21, organised by the German Embassy in Moscow, the Goethe-Institut and the Russian-German Chamber of Commerce (AHK). Artists (Berlin): Alisa Berger, BIEST, Barbara Breitenfellner, Kaan Bulak, Lou Cantor, Martin Dammann, Tobias Dostal, Cécile Dupaquier, William Engelen, Simon Faithfull, Friederike Feldmann, Katia Fouquet, Zohar Fraiman, Claudio Gobbi, Olaf Holzapfel, Brendan Howell, Rolf Julius, Robert Lippok, Maru Mushtrieva, Agnes Meyer-Brandis, Ulrike Mohr, Olaf Nicolai, An Paenhuysen, Albrecht Pischel, Tim Plamper, Marie Rief, Maya Schweizer, Heidi Specker, Tim Tetzner, Albert Weis, Felix Leon Westner, Vadim Zakharov, Gloria Zein, Tobias Zielony Producers (Krasnoyarsk): Ulyana Afanasyeva, Igor Akulov, Nina Anikina, Irina Bakhtina, Roman Beletsky, ‘Belka’, Daria Berezovskaya, Anastasiya Bezvershuk, Roman Bobryshov, Daria Bralkova, Irina Bralkova, Vladimir Bush, D3mark0, Oleg Deetz, Polya Grechka, Anna Kardash, Anna Kartushinskaya, Ekaterina Khinovker, Anastasiya Kirichenko, Valerie Kovalchuk, Elena Krupneva, Diana Ivanova, Vladimir Lavrenov, Vadim Luke, Maria Makovskaya, Evgenia Markova, Kseniya Masanova, Vladislava Mitsukova, Mary Wood Nemzuk, Olga Nikulina, ‘Oskar’, Galina Pozhidaeva, Daria Ryabchenko, Katerina Semushkina, Pavel Slavikovsky, Stas Sharifullin, Vladimir Scherbovich, Dmitry Shtifonov, Natalia Skidanova, Evgeniya Susakina, Eva Sushkevich, Natalya Tagunova, Ivan a36e Wsyakin, Mikhail Wsyakin, Nadezhda Wsyakina, Yaroslava Wsyakina, Alexander Zakirov, Nikita Zazulya, Ivan Zuykov, and many others <img width="1772" height="1241" width_o="1772" height_o="1241" data-src="https://freight.cargo.site/t/original/i/8ea08731dab3a3e2ef418253d2990d45ddc40d70a11232a35e8f47485cac8060/ochumelaya-vystavska-1-floor.jpg" data-mid="127351401" border="0" src="https://freight.cargo.site/w/1000/i/8ea08731dab3a3e2ef418253d2990d45ddc40d70a11232a35e8f47485cac8060/ochumelaya-vystavska-1-floor.jpg" /> <img width="1772" height="1241" width_o="1772" height_o="1241" data-src="https://freight.cargo.site/t/original/i/0329ce56b53c6e303012a562ec91a7d4c1b70abdff070c29bf21956c7bf7d68c/ochumelaya-vystavska-2-floor.jpg" data-mid="127351402" border="0" src="https://freight.cargo.site/w/1000/i/0329ce56b53c6e303012a562ec91a7d4c1b70abdff070c29bf21956c7bf7d68c/ochumelaya-vystavska-2-floor.jpg" /> https://thibautderuyter.com/2021-nan-hoover-metropolis Mon, 19 Jul 2021 08:16:17 +0000 thibautderuyter https://thibautderuyter.com/2021-nan-hoover-metropolis Nan Hoover - Metropolis A board member of the Nan Hoover Foundation since 2017, I conceived and planned the reconstruction of the interactive installation Metropolis that the artist did in 2006. The artwork, a site-specific piece made for the Museum of Art in Wiesbaden was carefully researched and adapted to the space of the Philara Sammlung in Düsseldorf in the frame of their exhibition Mirrors and Windows curated by Katharina Klang. <img width="1772" height="1266" width_o="1772" height_o="1266" data-src="https://freight.cargo.site/t/original/i/5a236825aecea9d8fe394942f00ba7d3888acaf895b705ec1b01552842ef5754/02_MirrWind_NH_Metropolis_2006_3_Philara-Collection_Photo-Kai-Werner-Schmidt.jpg" data-mid="127351412" border="0" src="https://freight.cargo.site/w/1000/i/5a236825aecea9d8fe394942f00ba7d3888acaf895b705ec1b01552842ef5754/02_MirrWind_NH_Metropolis_2006_3_Philara-Collection_Photo-Kai-Werner-Schmidt.jpg" /> <img width="1772" height="1266" width_o="1772" height_o="1266" data-src="https://freight.cargo.site/t/original/i/63aef3d5ea3c5039341f8439bfddf6f36ca950d933cf87db9ea7c44b44686ab3/02_MirrWind_NH_Metropolis_2006_4_Philara-Collection_2021_Photo-Kai-Werner-Schmidt.jpg" data-mid="127351413" border="0" src="https://freight.cargo.site/w/1000/i/63aef3d5ea3c5039341f8439bfddf6f36ca950d933cf87db9ea7c44b44686ab3/02_MirrWind_NH_Metropolis_2006_4_Philara-Collection_2021_Photo-Kai-Werner-Schmidt.jpg" /> <img width="1772" height="1329" width_o="1772" height_o="1329" data-src="https://freight.cargo.site/t/original/i/8abfd65540b6372a8989877e6c6c4d114b22ecb1474b988c4b4b3166ffc48a75/02_MirrWind_NH_Metropolis_2006_2_Philara-Collection_2021_Photo-Kai-Werner-Schmidt.jpg" data-mid="127351411" border="0" src="https://freight.cargo.site/w/1000/i/8abfd65540b6372a8989877e6c6c4d114b22ecb1474b988c4b4b3166ffc48a75/02_MirrWind_NH_Metropolis_2006_2_Philara-Collection_2021_Photo-Kai-Werner-Schmidt.jpg" /> <img width="1772" height="1329" width_o="1772" height_o="1329" data-src="https://freight.cargo.site/t/original/i/c4bfba71518305ad748431d4244186f3dde77e58597e5359f46a639dd7b5b128/02_MirrWind_NH_Metropolis_2006_1_Philara-Collection_2021_Photo-Kai-Werner-Schmidt.jpg" data-mid="127351410" border="0" src="https://freight.cargo.site/w/1000/i/c4bfba71518305ad748431d4244186f3dde77e58597e5359f46a639dd7b5b128/02_MirrWind_NH_Metropolis_2006_1_Philara-Collection_2021_Photo-Kai-Werner-Schmidt.jpg" /> The audience enters a room filled with yellowish-red light. In the semi-darkness, one recognises black steles that remind of skyscrapers. This impression is reinforced by the shadows cast by the towers on walls of the white cube. As if, in the haze of the skyline, further buildings were staggered towards the horizon. Slowly you perceive that the room is populated, human shapes appear all around. They follow your steps, they move and vanish as one approaches the sources of the mysterious, emotionally charged light, they grow and shrink. They come and go, return and disappear again. But it is the visitors themselve who, by their presence in the exhibition space, create the moving black shapes. The constant element of surprise that this installation provokes increases the desire to take up Hoover’s offer to invent one’s own choreography. After researching in the archives of Nan Hoover, observing the photographs produced in Wiesbaden and discussing with several witnesses of the original version of Metropolis, a careful design was developed especially for the space of the Philara Sammlung. All details and technology from 2001 were respected (the light is produced by slide projectors equipped with theatre gels). The reconstruction creates, therefore, the same physical experience to the visitors than the original one. <img width="3508" height="2480" width_o="3508" height_o="2480" data-src="https://freight.cargo.site/t/original/i/2bb709cc8c81aae48e77213e549744ebf4e71ce11febdd11950455cc6235052a/-nan-hoover--metropolis.jpg" data-mid="127351407" border="0" src="https://freight.cargo.site/w/1000/i/2bb709cc8c81aae48e77213e549744ebf4e71ce11febdd11950455cc6235052a/-nan-hoover--metropolis.jpg" /> <img width="3508" height="2480" width_o="3508" height_o="2480" data-src="https://freight.cargo.site/t/original/i/40bfeef93aac2b0e21eac78a363a72da809b030273adc5c54dc80ffe0676613d/-nan-hoover--metropolis-2.jpg" data-mid="127351408" border="0" src="https://freight.cargo.site/w/1000/i/40bfeef93aac2b0e21eac78a363a72da809b030273adc5c54dc80ffe0676613d/-nan-hoover--metropolis-2.jpg" /> <img width="3508" height="2480" width_o="3508" height_o="2480" data-src="https://freight.cargo.site/t/original/i/148a9915c7664feb0cbcb62fdfcc592b7a4a63f2140f4535a468659b8d44dd0c/-nan-hoover--metropolis-3.jpg" data-mid="127351409" border="0" src="https://freight.cargo.site/w/1000/i/148a9915c7664feb0cbcb62fdfcc592b7a4a63f2140f4535a468659b8d44dd0c/-nan-hoover--metropolis-3.jpg" /> Nan Hoover - Metropolis in Mirrors and Windows, curated by Katharina KlangJune 18 — October 03, 2021 Sammlung Philara, Düsseldorf (Germany) Research and conception: Thibaut de Ruyter for the Nan Hoover Foundation https://thibautderuyter.com/2020-21-welcome-to-bebeethoven Tue, 24 Nov 2020 09:44:09 +0000 thibautderuyter https://thibautderuyter.com/2020-21-welcome-to-bebeethoven Welcome to #bebeethoven A direct follow up of &nbsp;the exhibition a song for europe, the project&nbsp;welcome to #bebeethoven presents music in an interactive, simple and visual way. Several Qr-Codes, linked to a computer, allow the visitors to pass from one presentation to another, without specific order. Conceived as a travelling exhibition, it has been shown in the Schickhardt-halle in Esslingen, the Bundeskunsthalle and the Beethoven-Haus in Bonn and the Landesvertretung Baden-Würtemberg in Berlin.&nbsp; <img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/59a8cfb797f0cbc40dd1a16cae04aa1cf2d0857ef308ebfed5081e26169ba1d8/17901CP_D_076.jpg" data-mid="127351419" border="0" src="https://freight.cargo.site/w/1000/i/59a8cfb797f0cbc40dd1a16cae04aa1cf2d0857ef308ebfed5081e26169ba1d8/17901CP_D_076.jpg" /> <img width="4096" height="2731" width_o="4096" height_o="2731" data-src="https://freight.cargo.site/t/original/i/fa7cfbb67227ba494f01cb09835807059932d9dc5f27407d5479fd9703c4a968/2021_11-03_mhvogel_2997_m1_L.jpg" data-mid="158996210" border="0" src="https://freight.cargo.site/w/1000/i/fa7cfbb67227ba494f01cb09835807059932d9dc5f27407d5479fd9703c4a968/2021_11-03_mhvogel_2997_m1_L.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/31cd2ea19db2c1f1af016cab586378bb57ab4b3b36edf91c43ecda9334bbef19/IMG_0682.jpg" data-mid="159499879" border="0" src="https://freight.cargo.site/w/1000/i/31cd2ea19db2c1f1af016cab586378bb57ab4b3b36edf91c43ecda9334bbef19/IMG_0682.jpg" /> The exhibition proposes an introduction to the creative world and artistic works of the twelve fellows who, since 2018, have been researching, producing or composing in the frame of that unique program. It is an invitation for the visitors to discover new ways of dealing with art and music. It doesn’t pretend to replace a concert or the physical presence of a musician, it doesn’t substitute to the real confrontation with an artwork or live performance. But gives the desire to search and research, to read and to learn or, simply, the pleasure to discover new artists and their various creative approaches. <img width="4096" height="2731" width_o="4096" height_o="2731" data-src="https://freight.cargo.site/t/original/i/ce29d8e4040b5c70e418ae2ebb5895f35ac1261934c8289f5bf1f7453b9bef7c/2021_11-03_mhvogel_3511_m1_L.jpg" data-mid="158996225" border="0" src="https://freight.cargo.site/w/1000/i/ce29d8e4040b5c70e418ae2ebb5895f35ac1261934c8289f5bf1f7453b9bef7c/2021_11-03_mhvogel_3511_m1_L.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/dbe65ca34c2ee41db2eb350ccbf0923df44063ecf72a7e928f5f34b1f6c181cc/17901CP_D_160b-copie.jpg" data-mid="127351432" border="0" src="https://freight.cargo.site/w/1000/i/dbe65ca34c2ee41db2eb350ccbf0923df44063ecf72a7e928f5f34b1f6c181cc/17901CP_D_160b-copie.jpg" /> You will not find a beginning or an end in this exhibition and you should feel free to drift and explore the digital content with your smartphone or tablet. All twelve fellows are different personalities, with different relations to the figure of Ludwig van Beet- hoven. Do not expect, here, some “techno remix” of the SYMPHONY NO. 9 or “pop song” version of FÜR ELISE: the exhibition shows how much Beethoven’s legacy proposes more than a few tunes heard too many times. The fellows are questioning the different ways of performing music, of recording and distributing it at the age of the Internet, of manipulating technology by building new instruments or using artificial intelligence, of breaking the boundaries between classical and contemporary, of decolonizing and reading history in our globalised world. The twelve fellows produced or selected in their private archives what we could call “trailers”. Between 3 and 10 minutes, the small pieces you can hear and watch in the exhibition are here to give you a taste of their creations. <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/0bde8f9f171ee5700aee98f21141e313e8e28958d401221f670d153e0526e198/17901CP_D_160q-copie.jpg" data-mid="158996703" border="0" src="https://freight.cargo.site/w/1000/i/0bde8f9f171ee5700aee98f21141e313e8e28958d401221f670d153e0526e198/17901CP_D_160q-copie.jpg" /> Music is widely present today on the Internet and in social media, that’s why we played with the aesthetic of QR codes as a reference to the digital world but also as a way to give you the free- dom to create your own path. And also why we hope that, after your visit to the exhibition, you’ll dive in the Internet to find more information or music, and to join sooner or later a live performance from one of the fellows. Just scan, look and listen, enjoy and. . .&nbsp;WELCOME TO #BEBEETHOVEN! <img width="1772" height="1182" width_o="1772" height_o="1182" data-src="https://freight.cargo.site/t/original/i/fd89f67e61bf8217d4051c8b219bd5edc04608345bde82f1124c9766105a4ed8/17901CP_D_152.jpg" data-mid="127351429" border="0" src="https://freight.cargo.site/w/1000/i/fd89f67e61bf8217d4051c8b219bd5edc04608345bde82f1124c9766105a4ed8/17901CP_D_152.jpg" /> <img width="3508" height="2480" width_o="3508" height_o="2480" data-src="https://freight.cargo.site/t/original/i/7294215eb3d7770de133ab33c2a2ede09638d5266e20c707a48f3ce959ba868e/Schickhardt-Halle-FINAL-copy.jpg" data-mid="127351414" border="0" src="https://freight.cargo.site/w/1000/i/7294215eb3d7770de133ab33c2a2ede09638d5266e20c707a48f3ce959ba868e/Schickhardt-Halle-FINAL-copy.jpg" /> Welcome to #bebeethoven Schickhardthalle, Esslingen (Germany) October 13 — 15, 2020 Beethoven-Haus &amp; Bundeskunsthalle, Bonn (Germany) October 17 — 29, 2020 Landesvertretung Baden-Württemberg, Berlin (Germany) November 3, 2021 Curated by Thibaut de Ruyter Production: Lilli Maxine Ebert Programming: Brendan Howell Graphic Design: Büro Farbe Organized by Podium Esslingen Artists: Elina Albach, Kaan Bulak, Elisa Erkelenz, Quadrature (Juliane Götz &amp; Sebastian Neitsch), Johann Günther, Mathias Halvorsen, Holly Herndon &amp; Mat Dryhurst, Juri de Marco, Inigo Giner Miranda, Koka Nikoladze, Michael Rauter and Alexander Schubert