The Big Other
Group exhibition organized by Paula Doepfner with works by Ulf Aminde, Kerstin Brätsch, Mariechen Danz, Annabel Daou, Antje Engelmann, Thomas Helbig, Šejla Kamerić, Kapwani Kiwanga, Michael Müller, Marinella Senatore and Anna Witt.
Exhibition: January 29 - March 2, 2016
Opening: January 29, 2016

Installation Views

Works

Press Release

A text on the work of the artists was developed during the course of the exhibition in collaboration with literary scientist and prospective psychoanalyst Katja Ulmer and was read aloud at the end of the exhibition:

 

THE BIG OTHER

From deception to the truth – the search for the subject in the mirror and the symbol in the group exhibition The Big Other

 

The big Other, le grand Autre – a term by which Jacques Lacan refers to the mother, the first big Other in the defining dyad of mother and child. She is the representative of speech, the symbolic order into which the child enters as soon as she is able to recognize herself in the mirror. In that very moment, the child becomes aware of a certain lack, the inaccessibility of the relationship. Desire arises, and in her search for truth, the child attempts to express herself, to become independent. The child wants her desires to be satisfied. She wants to incorporate the object of desire, to possess it, love it, destroy it, hate it. The gap between the child and the big Other, meaning between the child and the symbolic order, which reflects the social order, is simultaneously compelling and unbearable. It coerces the speaking subject into being creative, into experiencing the limits and possibilities of reality, of that which is outside.

 

Piccolo caos, the euphemistic-ironic title of Marinella Senatore’s large- sized still, seems to document this struggle, the overcoming of the gap between oneself and the world in which desire arises. The artist’s performative genre, narrative dance, allows the piece to approach chaos in a playful manner. The search for truth takes place collectively, thereby incorporating the social outside, the mutual reflection. The figures in the photograph are strangely detached, they barely make eye contact; at second glance, the dynamic scene appears more rigid. The chaos is frozen. The narrative is stuck. At exactly this point the unconscious mind manifests itself, seeking an interpretation.

 

Glass panels attached to steel bars by Kerstin Brätsch are similarly forced from motion into paralysis. The Sunshields offer a clear view on reality through finger-holes and a murky perspective – similar to a kaleidoscope – pointing to a different way of becoming aware of one’s surroundings. They were performatively used in Iwaki, Fukushima prefecture, at the edge of the restricted area, the site of an immense catastrophe that left behind destructive but yet not immediately visible traces in the form of radioactive radiation. Furthermore, they were activated on the highest mountain in Japan, the Fuji. The inclusion of the universe and the sun gives the work a transcendent character.

 

The prototype of an altered state of consciousness – the dream – is the topic of Thomas Helbig’s painting Velvet. The negative forms are enigmatic and hard to decode. They immaterially leave traces on a background that was designed to swallow up light. Shapes and silhouettes with an inherently prompting character can be recognized, similar to a Rorschach test. The unconscious enters onto the stage of the Cartesian theatre. The dream leaves behind traces, which push themselves onto the stage of the unconscious and into conscious awareness.

 

This metaphor for what is happening in the human brain leads to Mariechen Danz’s work coin (skull/heart). The phrases “No memory no learning” and “organ input output system” are written on her oversized, half-transparent coin, which is infused with red veins and stamped with a skull. The brain as the foundation of our experience of the world, our nervous system as an accumulator and producer of thoughts, of feelings? Where is that which drives us located? Where is truth, power, the subject – and what is the currency, the symbolic exchange value, with which we can procure pleasure? Is it the shortcut over the gap that has opened up between us and the others? Is this currency the big Other?

 

In Paula Doepfner’s work But I wish there was something you would do or say to try and make me change my mind and stay, the brain also plays an important role. What constitutes subjective experience, also as it relates to neuronal processes? Can we comprehend our subjective experiences, our thoughts, our qualia? The organic aspect of the carefully cultivated and dried plants, the red colour operates as an antithesis to the destroyed bulletproof glass façade of a bank: the intense and gentle study of life, death and the unconscious blends with the radical and destructive nature of confrontation in communication. This interplay is in turn protected by an undisturbed glass panel, which frames the ensemble and creates a secure space, similar to the space of analysis, in which the aggressive and injured moments are preserved. Furthermore, the viewer is reflected in the glass panel and thus becomes involved in the communicative act.

 

Turning oneself around, the same process takes place in the photograph Bosnian Girl by Šejla Kamerić, in which one appears to be looking at one’s own reflection in a mirror besmirched with an unspeakable insult. The mandate, the identity ascribed to the subject from the outside, provokes an accusation. One refuses to accept this ascription, which is first imposed on the artist portrayed in the picture and later on the viewer, who identifies herself with the reflection in the mirror. Is this not also the theme of the search for truth that makes a subject out of an individual? Of liberation from stereotypes and destructive dependencies, of outrage over certain structures and relationship constellations, of the dissolution of sovereignty and servitude? It is about the ideal ego, which the subject assumes is desirable for the Other. In the relationship with the analyst, it is exactly this ideal ego that should be thematized and transformed into a self-determined ideal, into the ego that is closest to the truth of the subject.

 

The development of this ideal ego, of the understanding that there is an ego at all, takes shape in the mirror phase, a pre-linguistic period in which the child sees herself for the first time in the mirror and joyfully shifts from an orthopaedic, fragmented sense of self to a recognition of itself as a whole. This developmental-psychological stage and its unfolding over a lifespan is one of the topics of Michael Müller’s work. He represents the three basic neuroses – the hysteric, the sex-addicted satyriasis and the spastic – into grotesquely deformed, baby-pastel-coloured statues. They stand on a mirrored surface, which allows them to be viewed from all sides. The viewer herself becomes part of the reflection, she inevitably relates herself to these abnormalities of the human psyche. How much of these neuroses is in each one of us? In what proportion? When did they originate? A reference to the beginnings of psychoanalysis, the Studies on Hysteria by Sigmund Freud and Josef Breuer, uses the crippled ceramics to reflect the brutal treatments that were common practice before the development of conversational therapies, as well as the problematic nature of pigeon-holing, firm diagnoses of mental illnesses.

 

The photograph L’Autre qui n’existe plus by Ulf Aminde also offers a look in the mirror. Aminde took the photo immediately after his mother’s death. In the picture, he is wearing her clothes. A portrait of her is in the background. The camera covers his face. At the same time, a record is playing, with all the tracks from his mother’s CD collection merged into one. The record wears out with every listen as does his concrete memory. In Ulf Aminde’s work, the big Other – his mother – is missing. The reel game described by Freud in Beyond the Pleasure Principle, which anticipates Lacan’s concept of the mirror stage, revolves around the way a child copes with helplessness due to his mother’s absence. By making an object disappear and then reappear, the child symbolizes the principle of his separation from the mother, by which he is overpowered. However, through symbolisation – Lacan calls it a “triumphal exercise” – the child learns to control his distress and empower himself. Not yet speaking, the child copes with his powerlessness simply by uttering basic sounds such as “o-o-o” for “fort” (“gone”) and “a-a-a”, meaning “da” (“there”). It appears to me as if the noise droning from the record player follows a similar principle. The overlapping tracks are set against the unbearable (because incomprehensible and utter) absence of the Big Other, – both the mother and language – which becomes increasingly perceptible in the profound silence after death. These signifiers form an endless metaphor, a condensation of everything that connects and connected mother and son. But the single signs are distorted to the point of unrecognizability and become undecipherable. The association of all the musical pieces is at the same time a dissociation of the subject. And yet the identification with the mother, the gaze in the mirror, is an attempt to hold on and to make things cohere, to understand.

 

During the mirror stage, the child takes in the loss in order to overcome it. The separation from the physical presence is the necessary condition for the emergence of the symbolic. The comments uttered by the children in Anna Witt’s video The Eyewitness demonstrate an intermediate stage, a not yet independent thought structure, involving the parroting of overheard information and facts as well as the use of adult phrases and expressions whose sense cannot yet be fully grasped. The big Other has not yet been incorporated and regurgitated, the identification with it is still a large part of one’s own identity. The third entity, which splits up the dyad with the mother and makes the use of language inevitable, i.e. the father, has not yet been murdered. This becomes particularly clear in the scene with the photograph in which a grotesquely laughing Angela Merkel is baring her teeth. The most coherent association for one of the children goes as follows: the man touched her on the belly, then she became pregnant, now she is screaming because it hurts. One hardly ever encounters such a perfect example of the Oedipal complex. The unconscious surfaces through the reproduction of statements, the children’s empty repetition of phrases, and becomes involuntarily visible. This is an example of what Lacan calls full speech, which he views as the precondition for the examination of truth, of the unconscious, in the discourse of analysis. Only in speech can the subject constitute itself, if it recognizes itself therein.

 

The sentences in Antje Engelmann’s slide projection My Mother My Father are the result of free association. Beginning with “My mother” and “My father”, the sentences were completed spontaneously. The interpretation of the resulting statements is open to the viewer. She is exposed to her own countertransference and is at the same time invited to think about how she would characterize her own parents. The focus on just one sentence calls for the reduction of a highly complex relationship, which generally involves extreme closeness and is thus difficult to reflect upon. And yet, in the immediacy of the speech act, an involuntary understanding of the neurotic parts of the relationship with one’s parents emerges from the unconscious.

 

The wishes and phrases in Kapwani Kiwanga’s work Turns of Phrase – an enigmatic succession of foreign phonemes – express family and social values as well as affiliation with a social group. Kiwanga divorces the traditional Tanzanian garments worn as everyday clothes from their original context and reduces them to their sheer symbolic character. But these symbols are – at least for most of us – unreadable, they remain signifiers without a signified. The question of identity is hermetically sealed in these rudiments of ritual. What is foreign, and thus, according to Freud, frightening, remains foreign – even though the spoken language is presented in Latin characters.

 

By contrast, the language in Annabel Daou’s works Adieu, you whom I love a thousand times and Pieces of the love letter is easy to decode. As with Ulf Aminde’s piece, Daou’s works combine sound and pictures. They tap into the universality of language, the big Other to which the individual is bound to capitulate because it has always been there and can never be one’s own property, insofar as it appropriates the love oaths from the canon of world literature, at once loaded with and depleted of meaning. The attempt to achieve a complete collection and capture the universality of symbols bears comparison with the desperate, Sisyphean task. The expression of desire in the love letters, the plea to the Other, becomes an attempt to repair the injured self-love, an attempt that is always doomed to fail. The material upon which the sentences are written is equally contradictory: firm Japanese paper was covered with repair tape, which is normally used to repair archive material; and yet, the construction seems fragile, delicate and in the process of dissolving.

 

With the selection of works under the title The Big Other curator Paula Doepfner takes on the role of a psychoanalyst: she punctuates the discourse, brings it together and provides it with a framework. The search for truth in each work thus also becomes a discourse of her own, especially since one of Doepfner’s works is exhibited along with the others.
Without the viewer, however, the discourse of the whole exhibition and of each individual work would amount to nothing. Abstinently, the viewer perceives the messages and tries to decode them while remaining aware of her own countertransference. She bears witness to the truth of the discourse, takes it seriously and believes in it. These enigmatic and cryptic works reverberate in the viewer – the big Other is, ultimately, the viewer herself. Much like the analyst, she is a representative of the public, for which the ego tries to approximate the ego ideal. The discourse conveyed by the artists is directed toward her. The process of full speech during analysis, where symbolization exposes unconscious deceptions and leads to the truth of the subject, is described by Lacan as follows:

 

But it is clear that Speech begins only with the passage from the feint to the order of the signifier [=symbolic order] and that the signifier requires another locus – the locus of The Other, the Other as witness, the witness who is other than any of the [imaginary] partners [in the deception] – for the Speech borne by the signifier to be able to lie, that is, to posit itself as Truth.[1]

 

Katja Ulmer

 

 

[1] Jacques Lacan, Ecrits, Paris 1966, S. 907. (Deutsch nach Hermann Lang, Die Sprache und das Unbewußte. Jacques Lacans Grundlegung der Psychoanalyse, Frankfurt/Main 1998, S. 106.)

Ein Text zu den Arbeiten der Künstlerinnen und Künstler wurde während der Ausstellung in Zusammenarbeit mit der Literaturwissenschaftlerin und angehenden Psychoanalytikerin Katja Ulmer entwickelt und zum Abschluss der Ausstellung vorgetragen:

 

THE BIG OTHER

Vom Täuschen zur Wahrheit – Subjektsuche über den Spiegel und das Symbol in der Gruppenausstellung The Big Other

 

The big other, le grand Autre, der große Andere – damit ist bei Jacques Lacan zunächst die Mutter gemeint, die erste große Andere in der alles bestimmenden Dyade von Mutter und Kind. Sie ist die Vertreterin der Sprache, der symbolischen Ordnung, in die das Kind eintritt, sobald es sich im Spiegel selbst zu erkennen vermag. Ein gewisser Mangel, die Unzulänglichkeit der Beziehungen, wird ihm erst bewusst und ist ihm ab diesem Zeitpunkt eingeschrieben, das Begehren entsteht und in der Wahrheitssuche versucht es sich zu artikulieren, zu verselbstständigen, will seine Wünsche befriedigt wissen und sich das Objekt einverleiben, es also besitzen, es lieben und will es zerstören, es hassen. Die Kluft zwischen sich und dem großen Anderen, also zwischen sich und der symbolischen Ordnung, die die soziale Ordnung widerspiegelt, ist unerträglich und antreibend zugleich. Es zwingt das sprechende Subjekt zu Kreativität, zum immer wieder neuen Erfahren der Grenzen und Möglichkeiten der Realität, des Außen.

 

Piccolo caos, der euphemistisch-ironische Titel von Marinella Senatores doch sehr großformatigem Standbild, scheint diese Anstrengung, die Überwindung des Spaltes zwischen sich und der Welt, der das Begehren schafft, zu dokumentieren. Ihr performatives Genre des Narrative Dance erlaubt es, spielerisch und konsequenzlos dem Chaos zu begegnen. Die Wahrheitssuche findet im Kollektiv statt, das soziale Außen, das gegenseitige Spiegeln ist darin angelegt. Seltsam unbezogen sind die Figuren auf der Fotografie, es herrscht kaum Blickkontakt, die Dynamik wirkt auf den zweiten Blick seltsam starr. Das Chaos ist eingefroren. Das Narrativ ist ins Stocken geraten. Genau hier zeigt sich das Unbewusste, das es zu deuten gilt.

 

Ähnlich aus der Bewegung in die Lähmung gezwungen sind daneben die an Stahlstangen befestigten Glasscheiben von Kerstin Brätsch. Die Sunshields bieten einen klaren Blick auf die Realität durch die Fingerlöcher und eine getrübte Sicht – ähnlich der durch ein Kaleidoskop – auf ein anderes Bewusstwerden der Umwelt. Sie sind performativ in Iwaki, Präfektur Fukushima, am Rande der Sperrzone von Fukushima zum Einsatz gekommen, dem Ort, an dem eine unermessliche Katastrophe geschah, deren destruktive Spuren, die radioaktiven Strahlen, aber nicht unmittelbar sichtbar, nicht greifbar sind. Auch wurden sie auf dem höchstens Berg Japans, dem Fuji, aktiviert. Die Arbeit bekommt dadurch und durch den Einbezug des Universums, der Sonne, einen transzendenten Charakter.

 

In den Prototyp des veränderten Bewusstseinszustands, in den Traum, zieht Thomas Helbigs Malerei Velvet hinein. Rätselhaft und schwer zu entziffern sind die Negativfiguren darauf, immateriell haben sie auf einem Untergrund Spuren hinterlassen, der dazu gemacht ist, selbst das Licht zu verschlucken. Hier lassen sich Formen und Schemen erkennen, ihnen wohnt ein Aufforderungscharakter, ähnlich dem eines Rorschachtests, inne. Das Unbewusste tritt auf die Bühne des Cartesianischen Theaters. Der Traum hinterlässt Spuren, welche sich auf den Schauplatz des Unbewussten in den Bewusstseinsstrom drängen.

 

Diese Metapher für das, was sich dabei im menschlichen Gehirn vollzieht, führt zu Mariechen Danz Arbeit coin (skull/heart). „No memory no learning“ und „organ input output system“ steht auf ihrer überdimensionierten halbtransparenten Münze, die mit roten Adern durchzogen und auf die ein Schädel geprägt ist. Das Gehirn als Grundlage unserer Erfahrung von Welt, unser Nervensystem als Speicher und Produzent von Gedanken, von Gefühlen? Wo sitzt das, was uns antreibt, wo sitzt die Wahrheit, die Macht, das Subjekt – und was ist diese Währung, der symbolische Tauschwert, über den wir uns Lustgewinn beschaffen können? Ist sie die Abkürzung über den Spalt, der sich zwischen uns und den anderen aufgetan hat? Ist diese Währung der große Andere?

 

In Paula Doepfners Arbeit But I wish there was something you would do or say to try and make me change my mind and stay spielt das Gehirn ebenfalls eine Rolle. Was macht subjektives Erleben, auch in Beziehung zu neuronalen Prozessen, aus? Kann man subjektive Erfahrung, unsere Gedanken, unsere Qualia begreifen? Das Organische der sorgfältig aufgezogenen und getrockneten Pflanzen, der roten Farbe wirkt als Gegenpol zur zerstörten Panzerglasscheibe einer Bankfassade: Die intensive und sanfte Beschäftigung mit dem Leben, mit dem Tod, mit dem Unbewussten mischt sich mit dem Radikalen und Zerstörerischen der Konfrontation in der Kommunikation. Und dieses Zusammenspiel ist wiederum geschützt von einer intakten Glasscheibe, die dem Ensemble einen Rahmen und somit einen sicheren Raum wie dem der Analyse bietet, in dem das aggressive und das versehrte Moment aufbewahrt sind. Zusätzlich spiegelt sich der Betrachter in ihr und wird so Teil des kommunikativen Aktes.

 

Das Gleiche geschieht, dreht man sich einmal um sich selbst, in der Fotografie von Šejla Kamerić, Bosnian Girl, in dem man in einem mit einer unsäglichen Beleidigung beschmierten Spiegel in sein eigenes Abbild zu schauen scheint. Das Mandat, die von außen zugeschriebene Identität des Subjekts, provoziert eine Anklage. Man will sich wehren gegen diese Zuschreibung, die zunächst der Künstlerin, die auf der Abbildung zu sehen ist, und dann dem Betrachter, der sich mit seinem „Spiegelbild“ identifiziert, übergestülpt wird. Geht es nicht auch darum in der Wahrheitssuche, die aus einem Individuum ein Subjekt macht? Um die Befreiung von Rollen und aus destruktiven Abhängigkeiten, die Empörung über gewisse Gefüge und Beziehungskonstellationen, um  die Auflösung von Herrschaft und Knechtschaft? Es handelt sich um das Ideal-Ich, von dem das Subjekt ausgeht, dass es für den Anderen begehrenswert ist. In der Beziehung zum Analytiker soll genau dieses Ideal-Ich zum Thema werden und sich zu einem selbstgewählten Ideal wandeln. Zu dem Ich, das am nächsten an der Wahrheit über das Subjekt steht.

 

Die Entstehung dieses Ideal-Ichs, überhaupt des Verständnisses von einem Ich, entsteht im Spiegelstadium, in einer noch gerade vorsprachlichen Zeit, wenn das Kind sich das erste Mal im Spiegel erblickt und jubelnd von der orthopädischen, zerstückelten Ichwahrnehmung zur Erkenntnis kommt, dass es ein Ganzes ist. Diese entwicklungspsychologische Station und ihr gesamter weiterer Verlauf über die Lebensspanne ist ein Gegenstand von Michael Müller, der die drei Grundneurosen – die Hysterikerin, der sexsüchtige Sartyriasis und der Spastiker – in pastelligen Babyfarben zu grotesk deformierten Gestalten hat werden lassen. Sie stehen auf einer Spiegelfläche, die es ermöglicht, sie von allen Seiten zu betrachten. Teil dieses Spiegelbildes, das sich ergibt, ist auch der Betrachter selbst, er setzt sich zwangsläufig ins Verhältnis zu diesen Abnormen der menschlichen Psyche. Welche Anteile davon stecken in jedem von uns? In welchem Verhältnis? Und wann sind sie entstanden? Die Referenz auf die Anfänge der Psychoanalyse, die Studien über Hysterie von Sigmund Freud und Josef Breuer, reflektiert auch in der Verkrüppeltheit der Figuren zum einen die brutalen Behandlungsmethoden, die vor der Entwicklung der ersten Gesprächstherapien Gang und Gäbe waren, zum anderen die Problematik der schubladenhaften, bestimmten Diagnostik psychischer Krankheitsbilder.

 

Die Fotografie von Ulf Aminde, L’Autre qui n’existe plus, bietet auch einen Blick in den Spiegel, sie ist unmittelbar nach dem Tod seiner Mutter entstanden. Er trägt ihre Kleidung, im Hintergrund sieht man ein Portrait von ihr, sein Gesicht ist von der Kamera verdeckt. Parallel läuft eine Schallplatte, auf der alle Tonspuren ihrer CD-Sammlung übereinandergelegt sind. Dieser Tonträger nutzt sich mit jedem Abspielen ab und mit ihm die konkrete Erinnerung. In Ulf Amindes Arbeit ist der große Andere, seine Mutter, abwesend. Das Spulenspiel, das Freud in Jenseits des Lustprinzips beschreibt, und das Lacans Konzept des Spiegelstadiums vorwegnimmt, dreht sich genau um den Umgang mit der Hilflosigkeit ob der abwesenden Mutter. Indem ein Kind einen Gegenstand verschwinden lässt und wieder hervorholt, symbolisiert es das Prinzip der Getrenntheit von Mutter und Kind, dessen Unbeherrschbarkeit es ausgesetzt ist. In der Symbolisierung hingegen, Lacan nennt es eine „triumphale Übung“, kann das Kind seine Not beherrschen und mächtig sein. Noch ohne Sprache, nur rudimentär in „o-o-o“ für „fort“ und „a-a-a“ für „da“ vorhanden, kann das Kind seine Ohnmacht regulieren. Es kommt mir so vor, als folge der Lärm, der von der Schallplatte dröhnt, einem ähnlichen Prinzip. Der unerträglichen, weil auch unbegreiflichen und endgültigen Abwesenheit der großen Anderen, sowohl der Mutter als auch der Sprache, spürbar nicht zuletzt in der großen Stille nach dem Tod, werden die übereinandergelegten Tonspuren entgegen gesetzt. Diese Signifikanten bilden eine unendliche Metapher, eine ‚Verdichtung‘ von allem, was Mutter und Sohn verbindet und verbunden hat. Die einzelnen Zeichen werden dabei jedoch bis zur Unkenntlichkeit verzerrt und sind unentzifferbar. Die Assoziation aller Musikstücke ist gleichzeitig eine Dissoziation des Subjekts. Die Identifikation mit der Mutter, der Blick in den Spiegel, ist dennoch der Versuch, festzuhalten und zusammenzuhalten – zu verstehen.

 

Im Spiegelstadium nimmt das Kind den Verlust in sich auf, um ihn zu bewältigen. Die Trennung von der konkreten Anwesenheit ist die Voraussetzung für das Entstehen des Symbolischen. Die Kinderkommentare in Anna Witts Video The Eyewitness zeugen von einem Zwischenstadium, von der noch nicht ganz abgelösten Denkstruktur, sowohl dem Nachplappern von aufgeschnappten Informationen und Tatsachen als auch dem Anwenden von Floskeln und Redewendungen der Erwachsenen, deren genauer Sinn noch nicht ganz erfasst sein kann. Der große Andere ist noch nicht einverleibt, noch nicht wieder ausgespuckt, sondern die Identifikation mit ihm ist noch ein großer Teil der eigenen Identität. Die dritte Instanz, die die Dyade mit der Mutter aufspaltet und die das Benutzen der Sprache unausweichlich macht, der Vater, ist noch nicht ermordet. Besonders wird das deutlich bei der Szene mit Angela Merkel, die auf einem Foto lachend die Zähne fletscht. Die schlüssigste Assoziation für eines der Kinder ist: Der Mann hat sie am Bauch angefasst, dann ist sie schwanger geworden, jetzt schreit sie, weil es weh tut. Exemplarischer kann ein Ödipuskomplex kaum zutage treten. Hier drängt sich das Unbewusste durch die reproduzierenden Äußerungen, das leere Sprechen der Kinder im bloßen Wiederholen, an die Oberfläche und wird unwillkürlich sichtbar. Das ist das eigentliche, das volle Sprechen, wie Lacan es nennt und für die Ergründung der Wahrheit, des Unbewussten, im Diskurs der Analyse voraussetzt. Nur in ihm kann sich das Subjekt konstituieren, wenn es sich selbst darin erkennt.

 

Die Sätze in Antje Engelmanns Diaprojektion My Mother My Father kommen dem Ergebnis einer freien Assoziation gleich. Die vorgegebenen Satzanfänge „My mother“ und „My father“ wurden spontan vervollständigt. Die Deutung der Äußerungen bleibt dem Betrachter offen. Er ist seinen Gegenübertragungen ausgesetzt und überlegt ebenfalls, wie er seine Eltern charakterisieren würde. Die Konzentration auf einen Satz verlangt nach Reduktion einer hochkomplexen Beziehung, die meist zunächst von großer Nähe und somit wenig Reflexionsfähigkeit geprägt ist. Aber, in der Unmittelbarkeit des sprachlichen Aktes, bahnt sich aus dem Unbewussten ein unwillkürliches Verstehen der neurotischen Anteile der Beziehung zu den Eltern an die Oberfläche.

 

Die Familie und darüber hinaus gesellschaftliche Werte und die Zugehörigkeit zu einer sozialen Gruppe drücken die Glückwünsche oder Redewendungen, diese rätselhafte Aneinanderreihung von fremden Phonemen, in der Arbeit Turns of Phrase aus, die Kapwani Kiwanga aus ihrem Kontext, den traditionell tansanischen Gewändern, die im Alltag getragen werden, enthoben und wieder auf ihre reine Zeichenhaftigkeit reduziert hat. Diese Zeichen sind aber – zumindest für die Mehrzahl unter uns – nicht lesbar, sie bleiben Signifikanten ohne Signifikat. Die Frage der Identität bleibt in diesen Rudimenten von Ritualen selbst hermetisch verschlossen. Das Fremde, nach Freud das Angsteinjagende, bleibt fremd – auch wenn die gesprochen tradierte Sprache sich in lateinischen Buchstaben präsentiert.

 

Leicht entzifferbar hingegen ist die Sprache in der Arbeit von Annabel Daou, Adieu, you whom I love a thousand times und pieces of the love letter, die wie Ulf Amindes Beitrag aus Ton- und Bildmaterial besteht. Sie begegnet der Universalität der Sprache, dem großen Anderen, vor dem das Individuum kapitulieren muss, weil es immer schon da war und nie das Grundeigene sein kann, indem sie sich die gleichzeitig mit Bedeutung aufgeladenen und jedwedem Sinn entleerten Liebesschwüre aus dem Kanon der Weltliteratur aneignet. Der Versuch, bis zur Vollständigkeit zu sammeln und so die Universalität der Symbole einzufangen, kommt dem Verzweiflungsakt einer Sisyphusarbeit gleich. Der Ausdruck des Begehrens, das sich in den Liebesbriefen ausdrückt, wird so vom Appell an ein Gegenüber zum Versuch, die verletzte Eigenliebe zu reparieren, der immer schon gescheitert ist. Ebenso widersprüchlich ist das Material, auf dem die Sätze geschrieben sind: Stabiles japanisches Papier wurde mit Repair Tape beklebt, das normalerweise zur Reparatur von archiviertem Material verwendet wird. Dennoch wirkt das Konstrukt brüchig, filigran und in Auflösung begriffen.

 

Mit der Auswahl der Werke unter dem Titel The Big Other befindet sich Paula Doepfner als Kuratorin in der Position der Psychoanalytikern: Sie interpunktiert den Diskurs, sie führt zusammen und bietet einen Rahmen. Die jeweilige Wahrheitssuche der Arbeiten wird so aber auch zu ihrem eigenen Diskurs, nicht zuletzt durch das Vorhandensein ihrer eigenen Arbeit.

Ohne den Besucher jedoch würde der große Diskurs der gesamten Ausstellung und jeder einzelne Diskurs ins Leere laufen. Abstinent nimmt er die Botschaften wahr, versucht sie zu entschlüsseln und folgt dabei seinen Gegenübertragungen. Er ist Zeuge der Wahrheit des Diskurses, nimmt ihn ernst und schenkt ihm Glauben. Im Betrachter findet sich der Widerhall der rätselhaften und kryptischen Arbeiten. Letztendlich ist er also der große Andere. Er ist nicht zuletzt – wie der Analytiker – ein Vertreter der Öffentlichkeit, für die das Ich versucht sich dem Ich-Ideal anzunähern. Auf ihn ist in der Übertragung durch die Künstler der Diskurs gemünzt. Den Prozess des vollen Sprechens in der Analyse, bei dem unbewusste Täuschungen durch die Symbolisierung aufgedeckt werden und der zur Wahrheit des Subjekts führt, beschreibt Lacan so:

 

Es ist aber klar, dass das Wort erst in dem Übergang von der Täuschung zur Ordnung des signifiant (= symbolische Ordnung) seinen Anfang nimmt, und es ist klar, dass der signifiant einen anderen Ort fordert: den Ort des Anderen, den Anderen als Zeugen, den Zeugen, der ein Anderer ist als irgendeiner der (imaginären) Partner (der Täuschung); ein anderer Ort also ist gefordert, damit das Wort, das er trägt, lügen und sich so als Wahrheit setzen kann.[1]

 

 

Katja Ulmer

 

 

[1] Jacques Lacan, Ecrits, Paris 1966, S. 907. (Deutsch nach Hermann Lang, Die Sprache und das Unbewußte. Jacques Lacans Grundlegung der Psychoanalyse, Frankfurt/Main 1998, S. 106.)

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Clearing
Solo exhibition
Glenhyrst Art Gallery of Brant, Brantford, Ontario
January 10 - March 11, 2018
Kapwani Kiwanga
Inside the culturally loaded works of Kapwani Kiwanga
by Austen Tosone
Interview Magazine
December 8, 2017
Kapwani Kiwanga
Pattern
Group exhibition
Maison des Arts de Laval, Quebec
November 26, 2017 - February 4, 2018
Kapwani Kiwanga
In Search of Hidden Truths: Kapwani Kiwanga’s ‘The Sun Never Sets’
by Sipho Mdanda
ArtThrob - Contemporary Art in South Africa
November 15, 2017
Šejla Kamerić
Gebrochene Welten
Group exhibition
Kunstverein Gera
November 10 - December 23, 2017
Kapwani Kiwanga
DÉMASQUER: Arts et sciences en Afrique
Group exhibition
Association pour la Promotion Scientifique de l'Afrique (ASPA), Paris
November 8, 2017 - January 8, 2018
Kapwani Kiwanga
Afrogalactica: A brief history of the future
Performance
Hartware MedienKunstVerein (HMKV), Dortmund
October 26, 2017, 8 pm
Kapwani Kiwanga
Afro-Tech and the Future of Re-Invention
Group exhibition curated by Inke Arns and Fabian Saavedra-Lara
Hartware MedienKunstVerein (HMKV), Dortmund
October 21, 2017 - April 22, 2018
Kapwani Kiwanga
The Sun Never Sets
Solo exhibition
Goodman Gallery, Johannesburg
21 October – 18 November, 2017
Kapwani Kiwanga
Kapwani Kiwanga: Flowers For Africa
Galleries West Magazine
September 25, 2017
Annabel Daou
Fünfter Akt
Group exhibition
Trabanten, Düsseldorf
September 21 - October 1, 2017
Annabel Daou
FORTUNE
art berlin
September 16, 3.30-6 pm, September 17, 1.30-4 pm
Šejla Kamerić
Islam, it's also our history!
Group exhibition
TEMPORA, Brussels
September 15, 2017 - January 28, 2018
art berlin, 2017
with works by Nilbar Güreş, Šejla Kamerić and Laurel Nakadate
art berlin, STATION – BERLIN, Luckenwalder Straße 4 – 6
Booth 1.B04
September 14-17, 2017
Šejla Kamerić
Półprawda | Half-Truth
Group exhibition curated by Nathalie Hoyos, Rainald Schumacher and Ewa Kozik
Królikarnia, Warsaw
September 10 - October 22, 2017
Good To Talk
46 hours in conversation
Berghain Kantine, Am Wriezener Bahnhof, 10243 Berlin
Good To Talk - 46 hours in conversation
September 8-10, 2017
Kapwani Kiwanga
Kapwani Kiwanga: Flowers for Africa
Solo exhibition
Or Gallery, Vancouver
September 9 - October 14, 2017
Kapwani Kiwanga
LES GRANDS VOYAGEURS
Group exhibition curated by Ann Stouvenel
diagonale, Montréal
September 1 - October 7, 2017
Kapwani Kiwanga
Kapwani Kiwanga
by Jessica Karuhanga
BlackFlash
Issue 34.3, 2017
Kapwani Kiwanga
botánica
Group exhibition curated by Todd von Ammon
Berggruen Gallery, San Francisco
July 13 - August 29, 2017
Kapwani Kiwanga
Review: Kapwani Kiwanga / Galerie Tanja Wagner, Berlin
by William Kherbek
Samizdat Magazine
July 10, 2017
Kapwani Kiwanga
Afrogalactica: A brief history of the future
Performance at HALLUCINATIONS (Live / Cinema / Festival) on the invitation by Ben Russell
at documenta 14, Athens
June 24, 2017
Annabel Daou
Walk the Distance and Slow Down
Group exhibition curated by Mardee Goff
Boulder Museum of Contemporary Art, Colorado
June 9 - October 9, 2017
Kapwani Kiwanga
In Edenia, A City of the Future
Group exhibition curated by Yevgeniy Fiks
Yermilov Centre, Kharkiv, Ukraine
June 8 - July 31, 2017
Šejla Kamerić
Identification – Field exercises after Katalin Ladik
Group exhibition curated by Róna Kopeczky
La Box, Ecole nationale supérieure d’art de Bourges
June 1 - June 30, 2017
Kapwani Kiwanga
Afrogalactica II: The Black Star Chronicles
Performance at KIOSK, Ghent
June 1, 2017
Kapwani Kiwanga
Flowers are Documents – Arrangement I & II
Group exhibition curated by Emanuele Guidi
ar/ge kunst, Bolzano, Italy
May 26 - July 29, 2017
Šejla Kamerić
Dejima.
Konzepte von Ein- und Ausschluss
Group exhibition curated by Janneke de Vries
Gesellschaft für Aktuelle Kunst, Bremen
Mai 19 - August 6, 2017
Šejla Kamerić
TO DIE OUT LAUGHING
Group exhibition curated by Marko Stamenkovic
Museum House OF Humour and Satire, Gabrovo, Bulgaria
May 19 - September 30, 2017
Kapwani Kiwanga
Afrogalactica: A brief history of the future
Performance at Media Library of the City of Geneva, Switzerland
May 11, 2017
Kapwani Kiwanga
Afrogalactica: A brief history of the future
Performativer Dialog »Das soziale Leben des Universums«
Performance at Akademie Schloss Solitude, Stuttgart
May 5, 2017
Kapwani Kiwanga
What is one to do with such a clairvoyant image?
Group exhibition
Trinity Square Video, Toronto, Canada
May 5 - June 3, 2017
Kapwani Kiwanga
Critic's picks
by Kristian Vistrup Madsen
ARTFORUM
May, 2017
Kapwani Kiwanga
Die besten Kunst-Spaziergänge durch Berlin
by Lisa Zeitz, Christiane Meixner, Tim Ackermann u.a.
DIE ZEIT
April 29, 2017
Kapwani Kiwanga
Show Me Your Archive and I Will Tell You Who Is In Power
Group exhibition
KIOSK, Ghent
April 28 - June 16, 2017
Šejla Kamerić
The Restless Earth
Group exhibition curated by Massimiliano Gioni
La Triennale di Milano organized by the Fondazione Nicola Trussardi, Milan, Italy
April 27 - August 20, 2017
Kapwani Kiwanga
Gallery Weekend Berlin
by Sofia Lemos
art agenda
April 28-30, 2017
Kapwani Kiwanga
Berlin – Unterwegs zum Gallery Weekend
WELTKUNST
April 26, 2017
Šejla Kamerić
of Sound and Movements
Group exhibition
Videobox Festival, Le Carreau du Temple, Paris
April 27 - April 29, 2017
Annabel Daou
Fortune
Performance at Leila Heller Gallery, New York
April 22, 2017
Kapwani Kiwanga
Afrogalactica: A brief history of the future
Performance at The Power Plant, Toronto
April 21, 2017
Kapwani Kiwanga
Afrogalactica
Solo exhibition
The Institute of Things to Come, Fondazione Sandretto Re Rebaudengo, Turin
April 13 - May 14, 2017
Galerie Tanja Wagner – New York
LEARNING FROM BIG MISTAKES
Ulf Aminde, Annabel Daou, Paula Doepfner, Nilbar Güreş, Šejla Kamerić, Kapwani Kiwanga, Laurel Nakadate, Grit Richter, Angelika J. Trojnarski
March 31 - April 9, 2017
Kapwani Kiwanga
Conversations on Art
Artist talk
Fondation D'entreprise Ricard, Paris
March 8, 2017
Kapwani Kiwanga
The Power Plant, Toronto – exhibition review
by Frances Loeffler
FRIEZE
April 6, 2017
Šejla Kamerić
Identification – Field exercises after Katalin Ladik
Group exhibition
acb Gallery, Budapest
March 8 - April 21, 2017
Ulf Aminde
Die innere Haut - Kunst und Scham
Group exhibition
Marta Herford, Herford
March 4 - June 4, 2017
Kapwani Kiwanga
Almost There
Group exhibition
Jorge B. Vargas Museum and Filipiniana Research Center, Diliman, Quezon City, Philippines
March 2 - May 6, 2017
Kapwani Kiwanga
Horses on Rollerblades
Group exhibition
Konsthall C, Hökarängen, Sweden
February 25 - May 7, 2017
Annabel Daou
Revisiting America
Annabel Daou's The Declaration of Causes and Necessity of Taking Up Arms
The Lantern
January, 2017
Kapwani Kiwanga
A wall is just a wall
Solo exhibition
The Power Plant, Toronto
January 28 - May 14, 2017
Kapwani Kiwanga
Unravelings
Group exhibition
meter, Copenhagen
January 23 - April 2, 2017
Kapwani Kiwanga
The sum and its parts
Solo exhibition
Logan Center for the Arts, Chicago
January 20 - March 12, 2017
Annabel Daou
Interview by Rafael Soldi
Strange Fire Collective
November 24, 2016
Ulf Aminde
Congratulations to Ulf Aminde
on winning the competition for building a monument
to remember the victims of the NSU terror in Cologne.
Kapwani Kiwanga
Strata
Group exhibition curated by Eva Wilson Kópavogur
Cycle Music and Art Festival, Iceland
October 27 - 30, 2016
Annabel Daou
Acts of Sedition
Group exhibition curated by Raul Zamudio and Juan Puntes
WhiteBox, NYC
October 20 - November 09, 2016
Kapwani Kiwanga
RUN RUN RUN
Group exhibition
Villa Arson, Nice
October 2 - December 30, 2016
Kapwani Kiwanga
Uriel Orlow: Mafavuke’s Trial and Other Plant Stories
Group exhibition
The Showroom, London
September 28 - November 19
Šejla Kamerić
We live upon a star
curated by Erzen Shkololli
Hannah Ryggen Triennale
September 22 - November 20, 2016
Ulf Aminde
the school of no return
Solo exhibition
WEST, Den Haag
September 17 - October 10, 2016
Kapwani Kiwanga
Meet 9 Canadian women changing the game
by ELLE Canada
September 15, 2016
Kapwani Kiwanga
Botany under Influence
Group exhibition organized by Clelia Coussonnet
Apexart, New York
September 7 - October 22, 2016
Kapwani Kiwanga
"Rumors that Maji was a lie…
Solo exhibition
Stiftelsen 3,14, Bergen, Norway
August 19 - October 16, 2016
Šejla Kamerić
As If, At Home - Artists in Europe
Group exhibition curated by Jurriaan Benschop
BOX Freiraum, Berlin
June 25 - October 31, 2016
Ulf Aminde
Die Gabe
Group exhibition curated by Jörg van den Berg and Wolfgang Fetz
Magazin4 - Bregenzer Kunstverein
June 4 - August 21, 2016
Šejla Kamerić
Shape of Time- Future of Nostalgia
Group show curated by Adriana Opera, Nathalie Hoyos und Rainald Schumacher
National Museum of Contemporary Art, Bucharest
April 20 - Oktober 9, 2016
Kapwani Kiwanga
EVA Biennale: 2016 - Edition - Still (the) Barbarian
curated by Koyo Kouoh
Limerick City Gallery of Art
April 16 - July 17, 2016
Kapwani Kiwanga
A conversation with the artist
OCULA
March 30, 2016
Šejla Kamerić
South by Southeast. A Further Surface
Group exhibition curated by Patrick D. Flores and Anca Verona Mihuleţ
Times Museum, Guangzhou
March 14 - May 8, 2016
Kapwani Kiwanga
Two Eerie Armory Installations, From One Buzzy Artist
by Julie Baumgardner
New York Times
March 3, 2016
Kapwani Kiwanga
Kapwani Kiwanga's Archival Explorations
by Emily McDermott
Interview Magazine
March 2, 2016
Kapwani Kiwanga
The Armory Show Review
by Jason Farago
The Guardian
March 4, 2016
The Armory Show, 2016
with a solo presentation by Kapwani Kiwanga
The Armory Show, Piers 92 & 94, New York
March 3 - 6, 2016
Kapwani Kiwanga
Up and Coming: Armory Artist Kapwani Kiwanga
by Emily Nathan
Artsy
February 24, 2016
Kapwani Kiwanga
Parlons-en. Œuvres de la collection / Let's talk about Art
Group exhibition
Musée départemental d'art contemporain de Rochechouart, France
February 27 - June 12, 2016
Kapwani Kiwanga
Solo Exhibition
La Ferme de Buisson, Noisiel
April 24 - October 9, 2016
Kapwani Kiwanga
Hors Sol
FRAC Poitou-Charnetes
February 12 - May 14, 2016
Annabel Daou
White Cube…Literally
Group exhibition curated by Amanda Abi Khalil
Gallery Isabelle van den Ende, Dubai
January 18 - March 3, 2016
Šejla Kamerić
Šejla Kamerić's solo exhibition at Arter
by Jurriaan Benschop
ARTFORUM
January 2016
Kapwani Kiwanga
Subduction Zones
Solo exhibition
Le Granit, Belfort
March 5 - April 19, 2016
Kapwani Kiwanga
Afrogalactica: A Brief History of the Future
Performance at
Lille métropole musée d'art moderne, d'art contemporain et d'art brut, Lille
December 17, 2015 16.30 pm
Šejla Kamerić
When the heart goes bing bam boom
Solo exhibition
ARTER – space for art, Istanbul
December 11, 2015 – February 28, 2016
Ulf Aminde
Die Gabe (Teil 2)
Group exhibition curated by Jörg van den Berg und Benita Meißner
DG Deutsche Gesellschaft für christliche Kunst, Munich
December 11, 2015 - February 9, 2016
Ulf Aminde
Die Gabe (Teil 1)
Group exhibition curated by Jörg van den Berg und Benita Meißner
DG Deutsche Gesellschaft für christliche Kunst, Munich
November 26, 2015 - February 20, 2016
OFFICIELLE, 2015
with a solo presentation by Annabel Daou
OFFICIELLE, Les Docks - Cité de la Mode et du Design, Paris
October 21 - 25, 2015
Annabel Daou
HEARTLAND - Territoire d’Affects
Group exhibition curated by Joanna Abou Sleiman Chevalier
Beirut Exhibition Center
October 23 - November 29, 2015
Kapwani Kiwanga
A Conservator’s Tale
Performance at FIAC, Paris
October 22, 2015
Kapwani Kiwanga
4th Biennale of Lubumbashi
October 20 - November 8, 2015
Šejla Kamerić
1395 DAYS WITHOUT RED
Solo exhibition
etc gallery, Prague
September 30 - November 1, 2015
Kapwani Kiwanga
Commissioned Artist Named for Armory Show 2016
by Robin Pogrebin
Armory Show 2016
March 3 – 6, 2016
Ulf Aminde
Welcome to the Jungle
KW Institute for Contemporary Art, Berlin
September 16 - November 15, 2015
Annabel Daou and Kapwani Kiwanga
What We Call Love
Group exhibition curated by Christine Macel
Irish Museum of Modern Art, Dublin
September 12, 2015 – February 14, 2016
Kapwani Kiwanga
Kontrollmodus Feedback
Group exhibition curated by Elena Agudio & Michael Arzt
Halle 14, Leipzig September
12 - November 8, 2015
Šejla Kamerić
Remember Lidice
Group exhibition
Edition Block, Berlin
September 12, 2015 – February 13, 2016
Šejla Kamerić
Autonomy of Self
Rejecting violence with the lens in former Ottoman territories
Group exhibition curated by Joy Stacey
P21 Gallery, London
September 11 - November 1, 2015
Kapwani Kiwanga
Edge of Silence
Group exhibition
Goodman Gallery, Cape Town
July 23 - August 29, 2015
Kapwani Kiwanga
Afrogalactica: A Brief History of the Future
Performance at La Maison Rouge, Paris
July 9, 2015
Kapwani Kiwanga
Story of a Conservator
Performance
Bétonsalon, Paris
June 25, 2015 7-8 pm
Kapwani Kiwanga
Mediated Measures
Solo exhibition curated by Simone Frangi
Viafarini, Milano
June 18 - July 16, 2015
Kapwani Kiwanga
Atopolis
Group exhibition organized by Wiels in collaboration with Mons 2015
Manège de Sury, Mons in cooperation with WIELS Contemporary Art Center, Brussels
June 13 – October 18, 2015
Šejla Kamerić
in conversation with writer and film curator Gareth Evans
Wellcome Collection, London
May 21, 2015 7 - 8.30 pm
Kapwani Kiwanga
To speak of things you have not seen
Lecture-performance at
South London Gallery, London
May 20, 2015 7 pm
Kapwani Kiwanga
Afrogalactica II: The Black Star Chronicles
Performance at
ENSBA, Beaux-Arts de Paris
May 7, 2015 4:30 pm
Šejla Kamerić
30 Years After
Solo exhibition curated by Erzen Shkololli
National Gallery of Kosovo, Prishtina
May 4 - June 4, 2015
Kapwani Kiwanga
storytelling through art
by Giulia Franceschini
IAM AFRICA MAGAZINE
April 29, 2015
Ulf Aminde
Gaststerne - Kopfkino Museumsnacht Halle Leipzig
BURG Galerie im Volkspark, Halle
April 25, 2015
Kapwani Kiwanga
Afrogalactica: A Brief History of the Future
Performance at
Exodos International Festival of Contemporary Performing Arts, Ljubljana
April 20, 2015 6 pm
Kapwani Kiwanga
Kinjiketile Suite
Solo exhibition
South London Gallery, London
April 15 - 7 June, 2015
Dallas Art Fair, 2015
With works by Annabel Daou and Angelika J. Trojnarski
Dallas Art Fair, Fashion Industry Gallery, Dallas
April 10 - 12, 2015
Kapwani Kiwanga
The deep space scrolls
Performance at
Fondation d'Entreprise Ricard, Paris
March 30, 2015 7 pm
Kapwani Kiwanga
I am no longer a purist…
Magnus Rosengarten in conversation with Kapwani Kiwanga
Contemporary And
March 28, 2015
Kapwani Kiwanga
AFROGALACTICA : a brief history of the future
Performance at Kunstencentrum Vooruit, Ghent
March 14, 2015 7pm
Kapwani Kiwanga
Does Not Equal
Group exhibition
W139
March 13 - April 12, 2015
Kapwani Kiwanga
Telepathic Relay
Performance
HAU Hebbel am Ufer, Berlin
March 12, 2015
Kapwani Kiwanga
AFROGALACTICA : a brief history of the future
Performance
Le Phénix - Scène National de Valenciennes
March 11, 2015
Kapwani Kiwanga
A Century of Centuries

Group exhibition
SALT BEYOĞLU, Istanbul
March 10 – May 24, 2015
Kapwani Kiwanga
Trace évidence

Solo exhibition
École Supérieure d’Art et Design, Valence 
March 5 - 20, 2015
Šejla Kamerić
Forensics: The anatomy of crime
Group exhibition
Wellcome Collection
February 26 - June 21, 2015
Sejla Kamerić
True crime: the women making art out of murder
Written by Emine Saner
The Guardian
February 24, 2015
Ulf Aminde
Ordnungen des Zufalls

Group exhibition
Stadtgalerie Mannheim
January 10 - February 15, 2015
Annabel Daou
Sprache ohne Grenzen
written by Birgit Sonna
Art Magazin
January, 2015
Šejla Kamerić
1395 Days Without Red
Screening
Metcalf Auditorium, Chace Center, RISD MUSEUM, Providence
December 11, 2014
Šejla Kamerić
Rainproof ideas & more
Group exhibition
Edition Block, Berlin
December 6, 2014 - February 28, 2015
Annabel Daou
A Wicked Problem
Group exhibition curated by Claire Barliant
EFA Project Space, New York City
November 14 - December 12, 2014
Šejla Kamerić
by Saida Mustajbegović
urban magazine #11
November 2014
Ulf Aminde
Festival of Future Nows
Screening
Institut für Raumexperimente, Universität der Künste Berlin in Zusammenarbeit mit der Neuen Nationalgalerie
October 30 - November 1, 2014
Art Rio, 2014
with works by Mariechen Danz, Šejla Kamerić and Grit Richter
Art Rio
September 10-14, 2014
Ulf Aminde
Krankheit als Metapher. Das Irre im Garten der Arten
Group exhibition curated by Britta Peters
Kunsthaus Hamburg
October 14 - November 9, 2014
Šejla Kamerić
Fragile Sense of Hope - Art Collection Telekom

Group exhibition curated by Nathalie Hoyos and Rainald Schumacher
me Collectors Room Berlin/Foundation Olbricht
October 10 - November 23, 2014
Ulf Aminde
Shortlisted for Nam June Paik Award 2014
Screening
Nam June Paik Award
September 24, 2014
Annabel Daou
Art=Text=Art: Works by Contemporary Artists

Group exhibition curated by Elizabeth Schlatter with Rachel Nackman
UB Anderson Gallery, University at Buffalo, New York
September 20, 2014 - January 11, 2015
Šejla Kamerić
SHARE - too much history, MORE future


Group exhibition
Museum Moderner Kunst Kärnten
September 18 - November 2, 2014
Ulf Aminde
Project Space Festival
Screening
Project Space Festival
August 14, 2014
Ulf Aminde
Kunst in der Stadt - StadtKunst Bonn
Gesellschaft für Kunst und Gestaltung
August 10 - September 12, 2014
Šejla Kamerić
Decoding - Contemporary Art in Bosnia and Herzegovina
Group exhibition
The National Museum of Montenegro, Montenegrin Art Gallery Miodrag Dado Đurić, Cetinje
August 7 - 31, 2014
Šejla Kamerić
A Paradise built in Hell - Das 16mm-Filmformat im Kontext aktueller Bildproduktion

Group exhibition
Kunstverein Hamburg
June 28 - September 7, 2014
Ulf Aminde
RE: COLLECT
Group exhibition
Kunstpalais Erlangen
June 28 - August 31, 2014
Ulf Aminde
inundumundumherum
Group exhibition
Kunstverein Arnsberg
June 27 – August 17, 2014
Ulf Aminde
SHOW ME THE MONEY: The Image of Finance, 1700 to the present
Group exhibition
Northern Gallery for Contemporary Art, Sunderland
14 June - 30 August 2014
Šejla Kamerić
Memory Lane

Group exhibition
Galerie du Jour agnès b., Paris
June 6 - July 26, 2014
Ulf Aminde
Video über das Morgen hinaus. ARENA - Ein Videoparcours in der Düsseldorfer Altstadt
Screening
Quadriennale Düsseldorf 2014
May 31, 2014
Ulf Aminde
außer/planmäßig
Group exhibition
Burg Galerie im Volkspark
May 22 - June 15, 2014
Art Dubai, 2014
With a solo presentation by Annabel Daou
Art Dubai, Madinat Jumeirah, Dubai
March 19 - 22, 2014
Šejla Kamerić
Something in Space Escapes Our Attempts at Surveying
Group exhibition
Württembergischer Kunstverein, Stuttgart
February 22 - May 4, 2014
ARCO, 2014
With works by Mariechen Danz, Šejla Kamerić and Issa Sant
ARCO, Madrid
February 19 - 23, 2014
2014 | Ulf Aminde - the #mandelauging debate
the #mandelauging debate
Screening
Venus & Apoll, Düsseldorf
January 29 - February 2, 2014
Annabel Daou
Simply Drawn: Gifts to the Columbus Museum from the Collection of Wynn Kramarsky
Group exhibition
Columbus Museum, Columbus
January 12 - November 15, 2014
Ulf Aminde
All Star Cast
Group exhibition
Galerie Baer, Dresden
October 25, 2013 - January 10, 2014
Annabel Daou
Marking Language
Group exhibition
Drawing Room, London
October 10 - November 14, 2013
Ulf Aminde
8 Ways to Overcome the Closed Circuit

Group exhibition in cooperation with the Museum of Contemporary Art Belgrade
Künstlerhaus Bremen, Bremen
September 21 – Dezember 29, 2013
Ulf Aminde
Risk Society. Individualization in Young Contemporary Art from Germany.
Group exhibition
MOCA Museum of Contemporary Art, Taipei
September 14 - November 10, 2013
Annabel Daou
Art=Text=Art

Group exhibition
The Hafnarfjordur Centre of Culture and Fine Art, Hafnarfjörður
May 18 - June 23, 2013
Ulf Aminde
Insistere #7_Don't Fuck with my Name (Hacking the Curator)
Group exhibition
KW Institute for Contemporary Art, Berlin
April 27 - June 16, 2013
Art Brussels, 2013
With works by Annabel Daou, Mariechen Danz and Angelika J.Trojnarski
Art Brussels, Brussels Expo – Halls 1 & 3
April 18 - 21, 2013
Annabel Daou
The Emo Show

Group exhibition curated by Jaishri Abichandani
Elizabeth Foundation for the Arts, New York
March 29 - May 11, 2013
Art Dubai, 2013
With works by Annabel Daou and Šejla Kamerić
Art Dubai, Madinat Jumeirah, Dubai
March 20 - 23, 2013
art berlin contemporary, 2012
With a solo presentation by Ulf Aminde
abc - art berlin contemporary, Station Berlin
September 13 - 16, 2012
Annabel Daou
40/40
Group exhibition curated by Lilly Wei
A.I.R. GALLERY, New York
March 7 - 30, 2013
Annabel Daou
Sunday Sessions hosted by Nikolaus Hirsch & Markus Miessen / fortune
Screening
PS1, New York
February 24, 2013
Šejla Kamerić
RÁFAGAS 2012
Screening
Agora Center, A Coruña
December 12, 2012 - January 6, 2013
Šejla Kamerić
exhibition and film programme
Screening
Contemporary Art Centre, Vilnius
November 30, 2012
Ulf Aminde
Truth is concrete

Screening
Steirischer Herbst, Graz
September 21 - 28, 2012
Šejla Kamerić
The common which no longer exists
Group exhibition
Künstlerhaus, k/haus Galerie
September 14 - October 7, 2012
Šejla Kamerić
Gwangju Biennale, Korea
September 7 - November 11, 2012
Annabel Daou
Art=Text=Art
Zimmerli Art Museum at Rutgers University, New Brunswick, NJ
September 4, 2012 - January 6, 2013
Ulf Aminde
A Burnt-Out-Case?
Group exhibition
NGBK - Neue Gesellschaft für Bildende Kunst, Berlin
September 1 - October 14, 2012
Šejla Kamerić
1395 DANA BEZ CRVENE
Group exhibition
Museum of Contemporary Art, Belgrade
May 23 - June 24, 2012
Ulf Aminde
Made in Germany Zwei
Group exhibition
Kestnergesellschaft/Sprengel Museum/Kunstverein Hannover, Hannover
May 17 - August 19, 2012
Šejla Kamerić
1395 Days without Red
Group exhibition
Kunsthaus Graz, Graz
May 15 – 20, 2012
Šejla Kamerić
Geburtstagsblues in Brüssel
Written by Alexandra Wach
Artnet
April 19, 2012
Šejla Kamerić
1395 Days without Red
Screening
MSUM Ljubljana, Ljubljana
April 17, 2012
Ulf Aminde
30 Künstler - 30 Räume
Group exhibition
Neues Museum Nürnberg, Nürnberg
March 17 – June 17, 2012
Ulf Aminde
Der Noth gehorchend, nicht dem eignen Trieb
Group exhibition
Heidelberger Kunstverein, Heidelberg
March 10 – May 20, 2012
Šejla Kamerić
La La Human Steps: A Selection from the Collection of Museum Boijmans van Beuningen
Group exhibition
Istanbul Modern Art Museum, Istanbul
February 16 - May 6, 2012
Ulf Aminde
Über Dich
Group exhibition
Galerie Kamm, Berlin
January 28 – March 2, 2012
Šejla Kamerić
The Poster Show
Group exhibition
Carlier Gebauer, Berlin
January 20 – February 2, 2012
Šejla Kamerić
Glück
Screening
Eastern Neighbours Film Festival, Utrecht
October 26 – October 30, 2011
Šejla Kamerić
1395 Days Without Red
Group exhibition
MACBA - MUSEU D' ART CONTEMPORANI DE BARCELONA, Barcelona
October 19, 2011 - January 1, 2012
Šejla Kamerić
1395 Days Without Red
Screening
Zagreb Film Festival, Zagreb
October 16 - October 23, 2011
Šejla Kamerić
1395 Days Without Red
Special Gala Premiere
Screening
17th Sarajevo Film Festival, Sarajevo
July 22 - 30, 2011
Šejla Kamerić
1395 Days Without Red
Screening
Manchester International Film Festival MFI, Manchester
July 2 - September 4, 2011
Ulf Aminde
Macht Geschichte! X Wohnungen
Screening
16. Internationale Schillertage, Nationaltheater, Mannheim
June 2 - 10, 2011
Ulf Aminde
Auf Probe
Screening
Plateaux Festival 2011, Künstlerhaus Mousonturm
April 28 - 29, 2011
Šejla Kamerić
Phantasie an die Macht - Politik um Künstlerplakat
Group exhibition
Museum für Kunst und Gewerbe, Hamburg
March 18 – June 13, 2011
Šejla Kamerić
Krause Knöpfe
Written by Claudia Wahjudi
Der Tagesspiegel
February 26, 2011
Ulf Aminde
Stile der Stadt
Screening
Videopanel - 3rd International Video Art Festival Hamburg Altonaer Museum, Hamburg
February 19 - 27, 2011
Šejla Kamerić
Künstlergespräch bei Tanja Wagner
Written by Nele Heinevetter
Zeit Online
February 17, 2011
Šejla Kamerić
Und ein Teppich, so rot wie Blut: Sejla Kameric in der Galerie Tanja Wagner Schwarze, weiße Spinnennetze
Written by Ingeborg Ruthe
Berliner Zeitung
February 1, 2011
Ulf Aminde
Selected artists 2010
Group exhibition
NGBK, Berlin
January 22 - February 13, 2011
Šejla Kamerić
Šejla Kamerić Tatiana Lecomte
Camera Austria, Graz
January 21 – March 27, 2011
Šejla Kamerić
Laureate of the 3rd Routes Award for cultural diversity
Screening
European Cultural Foundation
Ferbuary 8, 2011
Šejla Kamerić
HAPPINESS / GLÜCK
Screening
8TH ZAGREB FILM FESTIVAL 2010
October 17 - 23, 2010
Šejla Kamerić
No More Drama
Solo exhibition
Röda Sten, Göteborg
October 9 – November 21, 2010