Berlin
BERGHAIN
Emma Haugh
Berghain was made in response to time spent living in Berlin. The work hinges on modern mythologies surrounding club culture and begins with the obsessive nature of online forums and the desire for an experience that facilitates complete abandon. Moving between fact and fiction the imagination is held somewhere in-between. Berghain is an infamous superclub in Berlin that feeds the craving for excess that is prevalent in the cultural make up of big cities.
Inside, Berghain is designed to facilitate a specific kind of spatial relationship through the use of lighting, hidden corners, darkrooms, techno music, an omission of any kind of reflective surface and a strict no camera policy. The architecture of the club is gendered, it comprises a gay male aesthetic that is particular to Berlin. The exhibition, like the club, promises a fabricated experience that confounds expectations.
Gallery space; 9 framed silver gelatin prints on Ilford warmtone archival paper 420mm x 310mm, 1 framed inkjet print on archival paper 390mm x 290mm, printed ephemera available to take away
Darkroom; Text etched onto mirror 7 panels 10″ x 8″ each, Strobe light, Original techno track 8.12 minutes duration
The exhibition is adaptable to spaces of various dimensions, originally it was installed across two rooms, one a white gallery space and the other a darkened room with audio and strobe lighting.
There is no catalogue but an artists book relating to the work has recently been published.
the artist has given several public presentations relating to this work and has a background in arts facilitation, an education/outreach programme is very feasible.
Artists Fees required: In keeping with VAI policy, an artist’s fee is required
emmahaughphotography@gmail.com
www.emmahaugh.com
Available from mid September onwards
In the light of the recent crash in the global financial system, this issue of Printed Project takes a timely look at the notion of ‘circulation’ – not only circulation of goods, bodies, knowledge, ideas, images and money, i.e. the movement of certain forms – but also, and maybe more so, an idea of circulation as a form in itself.
Curator / editor Katya Sander has taken her cue from a number of recent sociologists and anthropologists, who have sought to understand and describe the market “as one form of circulation central to western imaginary of modernity”. As Sander notes “along with the market as one such matrix for western modernity, the notion of the public sphere and the idea of the nation state can also be understood as seminal forms of circulation for western modernity and the ways in which it is understood and imagined.”
Curator / Editor
Katya Sander (born 1970 Copenhagen) lives and works in Berlin and Copenhagen. Sanders most recent solo exhibitions include Production of Future. A Science Fiction About Counting at Künstlerhaus Stuttgart, TIFO (event) at Generator in Trondheim, and The Most Complicated Machines are Made of Words at Museum Moderner Kunst (MuMoK) in Vienna. Moreover, Sanders work has been shown in group shows such as in Documenta12 (9 Scripts From a Nation at War, with Andrea Geyer, Sharon Hayes, Ashley Hunt & David Thorne), Kunstraum Universität Lüneburg, Rooseum in Malmö, Charlottenborg in Copenhagen, Neue Berliner Kunstverein, CCA Watts Institute in San Francisco, ICCA Bucharest, Artists Space in New York, Australian Centre for Contemporary Art, Moderna Museet in Stockholm, Musée de L’Art Moderne de la Ville de Paris, Kunsthalle Wien, Aarhus Art Museum, MIGROS Museum, and others. She has worked in various collaborative constellations. Sanders writing on art, visual cultures, architecture and feminism has been published internationally in various books, magazines and journals. Together with Simon Sheikh she is a series editor of OE–Critical Readers in Visual Cultures, published with b_books, Berlin.
Contributors
Zach Formwalt, Elin Wikström, Neil Cummings, Pauline Boudry & Renate Lorenz,Alex Villar, Katja Eydel, Brian Holmes, Andrea Creutz & Thomas Boren, Ashley Hunt, Jason Simon, Simon Sheikh, John Strauss, Sandra Schäfer, Ralph and Stefan Heidenreich.
Launch/Discussion Event
‘Kick Starting the Core’, 6.30pm on 7 December 2010 at The Banker’s Club, Stephen Street Upper, D8.
‘Kick Starting the Core’ featured presentations by: Garrett Phelan – Visual Artist, Dr. Constantin Gurdgiev – Adjunct Lecturer in Finance with Trinity College, Dublin and Noel Kelly – Chief Executive Officer/Director Visual Artists Ireland.
In the light of crash of the global financial system, the launch of this edition of Printed Project (which took a timely look at the notion of ‘circulation goods, bodies, knowledge, ideas, images and money) occasioned a wide ranging discussion event looking at the interaction of art and economics in Ireland.
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Entitled ‘I Cant Work Like This’ and co-edited by Anton Vidokle & Tirdad Zolghadr, Printed Project Issue 6 includes varied contributions that take as their starting point the notion of failure – in particular how to reassess failure in a context of ‘cutting defeatism’ among artists, writers and curators.
This issue of Printed Project was launched in Dublin, Madrid and Berlin:
Dublin: 15 February 2007 at Project, Essex Street.
Madrid: 18 February at ARCO 5th International Contemporary Art Experts Forum
Berlin: 24 February at the unitednationsplaza.
“The decision to invite Anton Vidokle to edit of Issue 6 of Printed Project arose out of events that took place in June 2006, when the city of Nicosia cancelled Manifesta 6 and terminated the curators’ contracts, a move that is virtually unheard of on this level. In July, during a heat wave in Dublin, in the casual banter that precedes this type of meeting, Printed Project’s editorial panel shared our disbelief, relaying to one another various sources of speculation. The idea arose to use the next issue of Printed Project to document this controversy, in hopes that this would allow some public entry into the decision. However, this approach would contradict our editorial mission: to support guest editors through an open platform in the form of a printed publication with no prescribed theme. We decided that an appropriate response to Manifesta’s cancellation would be to invite one of the curators to do anything they wanted. In effect, to offer a platform where one had been stripped away.
Anton invited Tirdad Zolghadr to co-edit the issue. It is important to mention that many of the contributions here are based on the opening conference called ‘Histories of Productive Failures: From French Revolution to Manifesta 6’, which took place at the unitednationsplaza, Berlin in October of 2006.”
(From Our failure to Disagree by Sarah Pierce, in ‘I Can’t Work Like This’ Printed Project : Issue 6)
Contents:
Natascha Sadr Haghighian: Front and Back Cover Design
Sarah Pierce, Our Failure to Disagree
Tirdad Zolghadr & Anton Vidokle, A Disagreement
Anselm Franke, The Grudge
Maria Lind, When Water is Gushing In
Adrienne Goehler, United Nations Plaza: The Toast
Martha Rosler, Transition and Digressions – an on-going series of photographs
Liam Gillick, The Winter School – A Fiction Towards Documenta X
Liam Gillick, Selected Transcription from Talk at UN Plaza, Berlin, 2006
Diedrich Diederichsen, The New Ugliness of the Oppressed as Ornament
Ingrid Serven, Oh God, She Said,Talking to a Tree
Fia Backström, Herd Instincts 360°
Joseph Cohen, Berliner Vortrag
Hans Ulrich Obrist, The Agency of Unrealised Projects
Tirdad Zolghadr, Epilogue. But You Promised
Tom Holert, Surviving Surveillance? Failure as Technology
UNP Staff, I Can’t Work Like This: A Written Assessment
Biographies
Anton Vidokle was born in Moscow and is currently based in Berlin. His work has been exhibited in shows such as the Venice Biennale, Dakar Biennale and at Tate Modern, London; Moderna Galerija, Ljubljana; Musee d’art Modern de la Ville de Paris; Museo Carrillo Gil, Mexico City; UCLA Hammer, LA; ICA, Boston; Haus Der Kunst, Munich; P.S.1, New York; amongst others. With Julieta Aranda, he put together e-flux video rental. As founding director of e-flux, he has produced projects such as Next Documenta Should Be Curated By An Artist, Do it, Utopia Station poster project, and organised An Image Bank for Everyday Revolutionary Life and Martha Rosler Library. Anton Vidokle was a co-curator of Manifesta 6.
Tirdad Zolghadr works as a freelance curator, writes for Frieze magazine and has also contributed to Parkett, Bidoun, Cabinet, afterall, Neue Zürcher Zeitung, Straits Times Singapore and other publications. After his MA in Comparative Literature he began work in the field of journalism and documentary film, being a co-founder of the Tehran-based online publication Bad Jens in 1999, and co-director of Tehran 1380 (with Solmaz Shahbazi), a documentary on Tehran mass housing in 2002. His recent “Tropical Modernism” explores the history of Iranian socialism and was premiered at the Oberhausen Short Film Festival 2006. Since 2004, Zolghadr has curated events at Cubitt London, IASPIS Stockholm, Kunsthalle Geneva, various Tehran artspaces and other venues. He was co-curator of the International Sharjah Biennial 2005, and is currently preparing a long-term exhibition and research project addressing social class in the art world that shall take place at Gasworks London, Platform Istanbul and Tensta Konsthall. Zolghadr is also a founding member of the SHAHRZAD art & design collective and will shortly publish his novel Softcore with Telegram Books, London.
PURCHASE THIS ISSUE OF PRINTED PROJECT:
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