NOV 14, 2020 – FEB 13, 2021 HOW TO HUMAN 10 Years of
Galerie Tanja Wagner

»For me and my gallery it’s always about exploring ›How to Human‹. Art is such an important way to reflect, feel and create a dialogue, and sometimes make sense of it all. It’s about creating awareness, and connections, dissolving power structures through my artists’ work, and our own work in the art world.«

— Tanja Wagner

»For me and my gallery it’s always about exploring ›How to Human‹. Art is such an important way to reflect, feel and create a dialogue, and sometimes make sense of it all. It’s about creating awareness, and connections, dissolving
power structures through my artists’ work, and our own work in the art world.«

— Tanja Wagner

HOW TO HUMAN

10 Years of
Galerie Tanja Wagner

NOV 14, 2020 – FEB 13, 2021

Since the opening of my gallery in 2010 Galerie Tanja Wagner is all about broadening visibility of art that challenges dated narratives, structures and hierarchies and offers a new vision and sensibility toward ourselves and society.

 

With HOW TO HUMAN – 10 years of Galerie Tanja Wagner, I am celebrating the artists as well as everyone who has supported the gallery and our vision throughout the past ten years – patrons big and small, institutions and independent curators, press, team past and present, producers, friends and family.

 

It is a group show of all my gallery artists which will be a mix of new and existing favorites, exploring HOW TO HUMAN in our very own way.

For me and my gallery it has always been about exploring HOW TO HUMAN. Art is such an important way to reflect, feel and create a dialogue, and sometimes make sense of it all. To me, it is about building equality through awareness, and connection with my artists’ work, and our own work in the art world.

 

I am excited to share with you what we have put together for this very special 10 year anniversary exhibition. No matter whether you can join us in person, or virtually connect – stay tuned for our accompanying digital program.

 

Warm wishes, Tanja

Since the opening of my gallery in 2010 Galerie Tanja Wagner is all about broadening visibility of art that challenges dated narratives, structures and hierarchies and offers a new vision and sensibility toward ourselves and society.

 

With HOW TO HUMAN – 10 years of Galerie Tanja Wagner, I am celebrating the artists as well as everyone who has supported the gallery and our vision throughout the past ten years – patrons big and small, institutions and independent curators, press, team past and present, producers, friends and family.

 

It is a group show of all my gallery artists which will be a mix of new and existing favorites, exploring HOW TO HUMAN in our very own way.

For me and my gallery it has always been about exploring HOW TO HUMAN. Art is such an important way to reflect, feel and create a dialogue, and sometimes make sense of it all. To me, it is about building equality through awareness, and connection with my artists’ work, and our own work in the art world.

 

I am excited to share with you what we have put together for this very special 10 year anniversary exhibition. No matter whether you can join us in person, or virtually connect – stay tuned for our accompanying digital program.

 

Warm wishes, Tanja

»Without a human counterpart, my work would not exist. Social relationships, the question of solidarity and taking a social position are my artistic tools.«

— Anna Witt

»Without a human counterpart, my work would not exist. Social relationships, the question of solidarity and taking a social position are my artistic tools.«

— Anna Witt

Anna Witt »Hautfront«, 2020
4K video, color, sound, 16:04 min.
3 + 1 AP (1/3)
€ 20.000,00 (VAT not included)

READ MORE

Through the pandemic, isolation became a shared experience that led to a new understanding of the body in its collective solitude.

 

The video was created during the first lockdown in spring 2020 in a collaborative process with women of different ages from Feldbach in Styria, Austria.

 

For this purpose, a discussion group was created, which met online to take a joint stand in a situation of general retreat into the private sphere. Subversiveness and resistance became central concepts, which focused on the effects of the pandemic and the resulting crisis for women.

 

A text collage was created for the video, which is based on the conversations that took place during the online meetings.

In addition, the women performatively interpreted experiences of physical distance and psychological closeness. Against a black background, different parts of the body enter into a dialogue and show that they are capable of physical empathy and solidarity in spite of contact bans.

 

For its premiere, the film was projected onto the stone wall of Tabor, the former witches’ prison in Feldbach, in a large format, of approximately 9m high x 16m wide. There the largest witch trial in Styria took place at the end of the 17th century.

 

The coarse structure of the historical wall was visible in the projected bodies of the women, thus establishing a historical reference to the topicality of female resistance.

»My art helps me connect deeper with the world around me – to pay closer attention to it, and to really see the things that I could easily become blind to because they are so familiar to me. It helps me shine a light on moments that could just quietly pass me by. It also helps me to playfully and honestly interact with people I love. It is my hope that it also offers the viewer something similar. Especially today when a lot of us are so busy staring at screens and easily become oblivious to all the little wonders constantly going on around us.«

— Lina Scheynius

»My art helps me connect deeper with the world around me – to pay closer attention to it, and to really see the things that I could easily become blind to because they are so familiar to me. It helps me shine a light on moments that could just quietly pass me by. It also helps me to playfully and honestly interact with people I love. It is my hope that it also offers the viewer something similar. Especially today when a lot of us are so busy staring at screens and easily become oblivious to all the little wonders constantly going on around us.«

— Lina Scheynius

Untitled (»My Bed«), 2018 Analogue C-Print
53 x 40 cm, 54,5 x 41,5 cm (framed)
3 + 2 AP (1/3)
€ 1.400,00 (VAT not included)
Lina Scheynius INQUIRE
Lina Scheynius Untitled (»My Bed«), 2018 Analogue C-Print
53 x 40 cm, 54,5 x 41,5 cm (framed)
3 + 2 AP (1/3)
€ 1.400,00 (VAT not included)
INQUIRE
Lina Scheynius Untitled (»My Bed«), 2018 Analogue C-Print
60 x 40 cm, 61,5 x 41,5 cm (framed)
3 + 2 AP (1/3)
€ 1.400,00 (VAT not included)
INQUIRE
Lina Scheynius Untitled (»My Bed«), 2018 Analogue C-Print
60 x 40 cm, 61,5 x 41,5 cm (framed)
3 + 2 AP (1/3)
€ 1.400,00 (VAT not included)
INQUIRE
Lina Scheynius Untitled (»My Bed«), 2018 Analogue C-Print
40 x 60 cm, 41,5 x 61,5 cm (framed)
3 + 2 AP (1/3)
€ 1.400,00 (VAT not included)
INQUIRE

Lina Scheynius Untitled (»My Bed«), 2018
Analogue C-Print, 53 x 40 cm, 54,5 x 41,5 cm (framed)
3 + 2 AP (1/3)
€ 1.400,00 (VAT not included)

Lina Scheynius Untitled (»My Bed«), 2018
Analogue C-Print, 53 x 40 cm, 54,5 x 41,5 cm (framed)
3 + 2 AP (1/3)
€ 1.400,00 (VAT not included)

Lina Scheynius Untitled (»My Bed«), 2018
Analogue C-Print, 60 x 40 cm, 61,5 x 41,5 cm (framed)
3 + 2 AP (1/3)
€ 1.400,00 (VAT not included)

Lina Scheynius Untitled (»My Bed«), 2018
Analogue C-Print, 60 x 40 cm, 61,5 x 41,5 cm (framed)
3 + 2 AP (1/3)
€ 1.400,00 (VAT not included)

Lina Scheynius Untitled (»My Bed«), 2018
Analogue C-Print, 40 x 60 cm, 41,5 x 61,5 (framed)
3 + 2 AP (1/3)
€ 1.400,00 (VAT not included)

READ MORE

Spring 2020.

After the initial shock of lockdown, when things started to settle down, I could not continue to post on social media as I had before. My world had gotten smaller. I started to post photos of my bed.

Not all very current as I shoot film and my lab was closed, but that didn’t matter. They felt extremely current. This is what I was looking at every day. This is where my life was playing out. I was here. And as I posted these bed photos I also started to photograph the bed.

»I find that art can give us a direct and immediate access to our inner being. By finding images for complex connections, for emotions, memories and unconsciousness. Through art we can connect with the world, with ourselves and with others, because art also has the potential to reveal collective emotional connections and structures. Art can touch people deep inside, directly and purely and in the best case lastingly. Art can find images for who we are, what we are and what makes us what we are at our core«

— Grit Richter

»I find that art can give us a direct and immediate access to our inner being. By finding images for complex connections, for emotions, memories and unconsciousness. Through art we can connect with the world, with ourselves and with others, because art also has the potential to reveal collective emotional connections and structures. Art can touch people deep inside, directly and purely and in the best case lastingly. Art can find images for who we are, what we are and what makes us what we are at our core«

— Grit Richter

Grit Richter »Das letzte Wort«, 2020
Oil on linen, 170 x 130 cm
Sold

»Seeing one another. Listening to one another (human or non human), is how art can help us to human.«

— Kapwani Kiwanga

»Seeing one another. Listening to one another (human or non human), is how art can help us to human.«

— Kapwani Kiwanga

Kapwani Kiwanga »Ficelle«, 2020
Steel (burnished), sisal, 82 x 116 x 8,5 cm
€ 12.000,00 (VAT not included)
Reserved

READ MORE

Sisal originates from southern Mexico and was exported globally in the 19th century.
Sisal produces the longest and strongest natural plant fibres, hence the longest and strongest ropes, everything from the largest ropes to tie battle ships to docks to twine for boxes.

 

After traveling through Tanzania Kapwani Kiwanga was fascinated by the natural plant fibres and its symbolistic political, economic and social history. The agave cactus was first brought illegally to Tanzania by German plantation owners who began to develop the crop on a large scale.

At the time of Tanzania’s independence, plantations that had once been privately owned were nationalized, in an attempt to assure Tanzania would be economically self-sufficient.

 

Sisal was meant to play an economic role in the country becoming an independent socialist state. Ujamaa socialism failed, for many different reasons, but when the price of sisal plummeted on the world markets it contributed to this as it adversely affected prospects of financial resilience.

»Through my art I not only try to understand the world and its complexities, but to depict how I see and feel it. The viewers in front of my work should feel the same amazement and awe I sense standing in nature, the fascination overwhelming me in a science museum or while leafing through an encyclopedia in my studio. Ideally they are touched by empathy, compassion, and respect for our planet. Like me, they should want to experience this world with every fiber of their bodies, to understand it for themselves, to save and preserve it.«

— Angelika J. Trojnarski

»Through my art I not only try to understand the world and its complexities, but to depict how I see and feel it. The viewers in front of my work should feel the same amazement and awe I sense standing in nature, the fascination overwhelming me in a science museum or while leafing through an encyclopedia in my studio. Ideally they are touched by empathy, compassion, and respect for our planet. Like me, they should want to experience this world with every fiber of their bodies, to understand it for themselves, to save and preserve it.«

— Angelika J. Trojnarski

Angelika J. Trojnarski »Melt«, 2020
Paper, oil on canvas, 150 x 115 cm
€ 11.000,00 (VAT not included)

Angelika J. Trojnarski »Blast«, 2020
Paper, oil on canvas, 100 x 80 cm
€ 7.500,00 (VAT not included)

»Art is not a decoration, it is a corrective. It helps us to discover meaningful identities, preserve hope and imagine better possibilities.«

— Šejla Kamerić

»Art is not a decoration, it is a corrective. It helps us to discover meaningful identities, preserve hope and imagine better possibilities.«

— Šejla Kamerić

Šejla Kamerić »REFUGEES WELCOME«, 2020
Neon, metal, 53 x 100 x 6 cm
Unique piece
€ 12.000,00 (VAT not included)

»Maybe none of us are the same. While I often approach my work from the perspective of our shared voices and repetitive use of the same language/phrases, I find myself lately overwhelmed by the thought that we are all just different enough that each person may encounter things in ways that no other person can imagine.«

— Annabel Daou

Annabel Daou »Action/Figure (Howl, Struggle, Kiss, Forget«, 2020
Ink on hand cut microfiber paper
195,5 x 81 cm
€ 17.000,00 (VAT not included)

»Maybe none of us are the same. While I often approach my work from the perspective of our shared voices and repetitive use of the same language/phrases, I find myself lately overwhelmed by the thought that we are all just different enough that each person may encounter things in ways that no other person can imagine.«

— Annabel Daou

Annabel Daou »Action/Figure (Howl, Struggle, Kiss, Forget«, 2020
Ink on hand cut microfiber paper
195,5 x 81 cm
€ 17.000,00 (VAT not included)

Annabel Daou »Action/Figure (Howl, Struggle, Kiss, Forget«, 2020
Detail

Annabel Daou »Action/Figure (Howl, Struggle, Kiss, Forget«, 2020
Detail

READ MORE

The words in this piece, approximately 260 in total, are all possible human actions. The language takes the form of a lace garment that serves to alternately conceal and expose.

 

The title alludes to action figures, which have generally been marketed to boys and often represent physical traits of strength, toughness and heroism.

The suspended words indicate the potential and chaotic possibility of action, while the form comes in and out of being, a floating figure that appears untethered and placeless.

 

The structure of connecting lines also references computer generated images of the body. While the bare materiality of the top layer suggests a protective but permeable exterior or exoskeleton, the layer underneath evokes the interior life behind the words.

»This is the universal question of life on earth, and what all my art has wrestled with.  How can I connect with the world during this human experience?  What physics evidence is created from those attempts at connection? These questions are asked again and again, each day, in everything I make, and without a final answer, the repetition continues.«

— Laurel Nakadate

»This is the universal question of life on earth, and what all my art has wrestled with.  How can I connect with the world during this human experience?  What physics evidence is created from those attempts at connection? These questions are asked again and again, each day, in everything I make, and without a final answer, the repetition continues.«

— Laurel Nakadate

Laurel Nakadate »Untitled: Performance #6 (Exterior)«, 2012
Paint, lipstick on inkjet print, 104 x 155 cm
Unique piece
$ 15.000,00 (VAT not included)

READ MORE

This series was made through performances in which I physically interacted with the beauty and longing of past experiences which now exist only in photographs.

 

I covered my hands in black paint, and my lips in red lipstick before throwing myself against the large photograph in order to record the presence of my body against the photo’s surface.

By physically interacting with the surface of the print, I was able to record the act of throwing my body against this landscape that is far away in space and time.

»Doing work that the far-right would ban.«

— Ulf Aminde

»Doing work that the far-right would ban.«

— Ulf Aminde

Ulf Aminde »Strasse der Arbeit« (Trailer), 2020
HD video, color, sound, 05:30 min

READ MORE

In his recent works, Ulf Aminde states the central question of the right to remembrance. »Strasse der Arbeit« (The Street of Labour), developed with Manuel Gogos and Svenja Leiber, examined the history of migration in the city and its region Bergisches Land.

 

The memorial was especially dedicated to the people who were involved in the (re)construction of the Märkische Strasse since the Second World War.

With it the proportion of labour migrants involved was to be determined.

 

In a second step, the share of migrant work on the street itself was made visible by a corresponding percentage of the Märkische Strasse. The colouring took place as a public action, performance and celebration with participating citizens from Engelskirchen.

Please provide your contact information to view this page.
Enter viewing room



We will process the personal data you have supplied in accordance with our privacy policy (available on request).