curated by_Pierre Bismuth
Christine König Galerie, Wien, Vienna, 05/07/2010 - 06/26/2010
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Down with Lenin, or the Virgin in the Stables
Taking its title from Luis Buñuel, the exhibition approaches the question of cinema from a critical and sometimes ironic Taking its title from Luis Buñuel, the exhibition approaches the question of cinema from a critical and sometimes ironic perspective. Free of any fascination with the mass audience, it seeks to establish less evident relations between art and film, therefore limiting the number of works using moving image while including sculpture, photographs, performance et al. The chosen works, which are structured around two main axes - deconstruction of the cinematographic apparatus on the one hand (Jacques André, Anetta Mona Chisa & Lucia Tkácová, Andreas Reiter Raabe, Cory Arcangel) and appropriation on the other hand (Guillaume Paris, Assaf Gruber, Thomas Stimm & Leopold Redl, Danai Anesiadou) - attempt to absorb cinema into forms and questions related to the visual arts. The sizeable category of artists who make films is thus deliberately ignored. Moreover, none of the artists chosen here seems to be exclusively or even particulary interested in the film medium. Thus, their relation to film that is suggested in this presentation is not automatically traceable in their other works. In some cases, even, that relation simply did not exist before it was deliberately adduced by placing the works in the context of this exhibition.
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Down with Lenin, or the Virgin in the Stables
Taking its title from Luis Buñuel, the exhibition approaches the question of cinema from a critical and sometimes ironic Taking its title from Luis Buñuel, the exhibition approaches the question of cinema from a critical and sometimes ironic perspective. Free of any fascination with the mass audience, it seeks to establish less evident relations between art and film, therefore limiting the number of works using moving image while including sculpture, photographs, performance et al. The chosen works, which are structured around two main axes - deconstruction of the cinematographic apparatus on the one hand (Jacques André, Anetta Mona Chisa & Lucia Tkácová, Andreas Reiter Raabe, Cory Arcangel) and appropriation on the other hand (Guillaume Paris, Assaf Gruber, Thomas Stimm & Leopold Redl, Danai Anesiadou) - attempt to absorb cinema into forms and questions related to the visual arts. The sizeable category of artists who make films is thus deliberately ignored. Moreover, none of the artists chosen here seems to be exclusively or even particulary interested in the film medium. Thus, their relation to film that is suggested in this presentation is not automatically traceable in their other works. In some cases, even, that relation simply did not exist before it was deliberately adduced by placing the works in the context of this exhibition.