https://npiece.com/klasse-frances-scholz/exhibitions?l=de
Man könnte es ein Projekt zur Unzeit an einem Unort nennen. Die Verkehrung gewohnter Verhältnisse und Verschachtelung von Arbeiten findet an einem außergewöhnlichen Zeitpunkt für die Dauer einer Eröffnung statt.
Künstlerische Arbeiten schaffen einen aktiven Zwischenraum mit ungesehenen Anschlüssen. Die Bewegung des Abbaus der Ausstellung und der beginnende Aufbau der Folgeausstellung, mit all ihrer Materialität, Unwägbarkeit und Zufälligkeit kommen zum Halt.
Der Titel des Projektes bezieht sich auf den Akt des Intervenierens in einem üblichen Ablauf und auf den Dialog der Studierenden mit ihrem jeweiligen Gegenüber. Meist einer KünstlerIn des historischen und zeitgenössischen Kunstgeschehens, im Einzelfall auch die Konfrontation mit sich selbst.
Diese Begegnungen sind von Fragen nach Einflüssen und dem Umgang mit künstlerischen „Vorgängern" bestimmt. Die Theorie „The Anxiety of Influence“ von Harold Bloom spielt neben anderen Einflüssen genauso hinein wie das Bewusstsein, Teil einer Kunstgeschichte zu sein. In den Arbeiten manifestieren sich Dekonstruktionen, Missverständnisse, Verformungen, Entfaltungen und Verbeugungen der eigenen Position vor den Künstler*innen.
Arbeiten von Alrun Aßmus, Raphael Aumann, Cernak Juraj, Carlotta Drinkewitz, Christopher Gerberding, Paula Grafenhorst, Hannah Hofferberth, Yoni Hong, Philipp Kapitza, Tarik Kentouche, Daniel Kuge, Sascha Kregel, Erasmus Leinweber, Lorenz Liebig, Elisabeth Lieder, Felix Pöge, Malte Taffner, Till Terschuren, Milena-Marie Rohde, Stella von Rohden, Rebekka Stuhlemer, Hyunjung Yoo, Arne-Niklas Volk, Kim So Jung, Carolin von den Benken, Tilman Berner, Judith Crasser, Jan Gerngroß.http://www.galeriekoal.com/exhibitions/klasse-frances-scholz-tell-them-we-said-no#current
Will a new form of collectivity follow the age of hyperindividuality?
What sways common experience? And what does the withdrawal of the
individual mean for art?
The Frances Scholz class of Braunschweig’s University of Fine Arts conceived this group exhibition not as a display of genius and autonomous works, but rather as an examination of the relationship between collaboration and individual artistic stances.
The exhibition was preceded by a zine workshop with the American artists V. Vale and Marian Wallace where the class explored concepts of artistic self restriction and rejections of consumerism and notions of success. As a form of consensus, the “no” in the exhibition title references mechanisms within the art world as well as university obligations. It also describes an artistic approach: can a withdrawal, even from the image itself, be seen as a form of protest?
Like the class’ installation Kennen Sie Turner? which was shown this April at the New York project space Shoot the Lobster, the current exhibition was a collective effort and conceived site-specifically. The contradictions and disruptions, but also the unity and the strength that came out of their collaborative creative process are on show here. The resulting works reject the idea of single authorship and form a playful yet precise whole that does not allow for any additions or changes.
What is clearly transmitted by the work of the Scholz class is the insight that processes of change can only be conceived together, but it also conveys a sense of unease owing to the absence of utopias – both social and economical.
Text by Diana Weis / 2017
Translated by Katja Taylor
With works by Raphael Aumann, Alrun Aßmus, Carolin von den Benken, Tilman Berrer, Judith Crasser, Carlotta Drinkewitz, Christopher Gerberding, Jan Gerngroß, Kolja Gollub, Hannah Hofferberth, Yoni Hong, Philipp Kapitza, Tarik Kentouche, Daniel Kuge, Sascha Kregel, Lorenz Liebig, Elisabeth Lieder, Malte Taffner, Leonie Terschüren, Till Terschüren, Stella von Rohden, Milena-Marie Rohde, Helene Roßmann and Jonas Schoeneberg.
Painting, drawing, photography, video, sculpture, installation, performance, and so on. Open to several stories, formats and styles the twenty four artists created a parkour similar to New York City itself. The ambition of the show, “Kennen Sie Turner?”, is to present the rich diversity of different artistic ways and their confrontation into a room of 25 to 10 feet with one window at the entrance. As an act of sensation, expression and thought, you will walk around in many corners, connected to everything, you find spray paint on the wall and might hear sound. In subtle decisions the show refuses to let itself be confined to a single definition. In perpetual motion, without borders it captures the impulsive life that happens, in turn, participates into a symbiotic environment. Circumstances like architectural capabilities led to an unpredictable whole, in witch the individual sees itself from a changed perspective. The survey of the exhibition is strongly influenced by its base, where all artists where located together at the time. Every single work is evaporated towards the front window. And what it adds is a new ability to grasp things, with the view through the window from the street, the perception appears as one reflection out of many layers. The further you step into the display the aspect expands from print to screening through a frame of intermediate looseness across to an approachable setting of single positions.
In the show “Kennen Sie Turner?” at Shoot the Lobster Gallery in Lower Manhattan, the Fine Art class of Frances Scholz researched the connection between collaboration and separate artistic positions. “Turner” as a mark has been an influence for breaking traditions and creating a final tenor by dissolving the distance of artworks and artists in the space.
Besides the show embodies a period of time the artists spent in New
York as well as the cooperation of their studies in Germany. Including
visits of artists in their studio spaces, curators at their institutions and
embracing New York ́s day and night life. During this emphasising
experience in the city as a group and alone, the set up transformed into a
recomposition of the withdrawal in independence, and thus multiply the
forms of life and its collaborative open process in art. The show does not
cease to reinvent itself and what surrounds it, too. It is this energy in the
Shoot the Lobster Gallery that “Kennen Sie Turner?” would like to share with the public during live performances, sound, screening and more
situations.
Gert Pretorius, Raphael Aumann, Alrun Aßmus, Carolin von den Benken, Judith Crasser, Carlotta Drinkewitz, Christopher Gerberding, Jan Gerngroß, Kolja Gollub, Hannah Hofferberth, Yoni Hong, Phillipp Kapitza, Tarik Kentouche, Daniel Kuge, Sascha Kregel, Lorenz Liebig, Elisabeth Lieder, Malte Taffner, Leonie Terschüren, Till Terschüren, Stella von Rohden, Milena-Marie Rohde, Helene Roßmann, Jonas Schoeneberg