VIS, Reginenstr. 8, 20539 HH

We would like to cordially invite you for a very last evening and farewell at VIS on Saturday 27th of July 2019, 7 pm, due to the definite closing of our space in Hamburg - featuring PALMA, a one-night exhibition by Sarah Ortmeyer, comprised of all new works.

We would hereby like to thank all the invited artists for their commitment in having collaborated with us over the last year and all of our supporting partners: namely the Ministry of Culture and Media of the Free and Hanseatic City of Hamburg, the Federal Chancellery of Austria, and the Hamburgische Kulturstiftung, without whom our exhibition program would not have been possible. Furthermore we would also kindly like to thank all people working with us, our friends and followers for their enthusiasm and effort. Last but not least our thanks for the wine support goes to the winery Machherndl, Wachau, and Philipp Geymüller from Domäne Baron Geymüller, Hollenburg.

VIS will continue its future activities within a different framework. Feel warmly invited following us via our newsletter and social media channels for any updates.

Following his visit to Hamburg on 2 August 2018, greville_w posted a single photo, accompanied by the following caption and hashtags:

Hamburg Kunsthalle: my kids and Cady Noland #cadynoland #hamburg

What this August photo does not show is that opposite Cady Noland’s Not Yet Titled (1994) was Felix Gonzalez-Torres’s Untitled (1990).

Plan A consisted of moving Felix Gonzalez-Torres’s Untitled (1990) from A (Hamburger Kunsthalle) to B (VIS), sheet by sheet, until it reached its ideal height of 20.3 cm. This might possibly have worked if Felix Gonzalez-Torres’s work had not been removed from view by the museum during preparations for this exhibition.

Plan B.
Please note: Cady Noland’s Not Yet Titled (1994)—a gift of the artist on the occasion of the opening of the Galerie der Gegenwart in 1997—is currently on view in the exhibition Cady Noland at MUSEUM MMK FÜR MODERNE KUNST, Frankfurt/Main, now extended until 26 May 2019.

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Hugo Scibetta deals in his artistic practice with the perception of places, landscapes or events through digital media. He examines the relation between situations and their representation in order to illuminate the significance of the intersections of image and reproduction for artistic production under current conditions.

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Manuela Gernedel and Fiona Mackay met at Glasgow School of Art. They have been collaborating since 2007 and painting together since 2009. For their European Painting Tour they spread themselves over walls, ceilings, windows and floors, merging separate individual ideas into one, for one moment of time. COMA marks the final gig of the first cycle of the 2018/19 tour.

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The project 24 pages is a fanzine, edited by artist Manuel Burgener. For issue #27, Nick Oberthaler (Vienna) and Pierre-Olivier Arnaud (Lyon) collaborated to exchange and assemble visual elements, composing motifs on a patterned layer. Deriving its idea from placemats, typical for French restaurants, usually mono-coloured, sometimes ornamented and printed on cheap paper.

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My coincidental encounter
My tender tight
TIME OUT

Alice Peragine’s performances and mixed-media installations are aesthetic experimental arrangements. The various components refer to control and monitoring mechanisms as well as the effects of digitization on individual bodies. With the aim of putting the conditions for a free scope of action up for debate, Peragine explores the relationship between the public and private space, analyzes signs of hierarchical structures and translates symbols of institutional power into the visible and tangible realm.

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With deposition, Manfred Pernice turns VIS into a space of potentiality. The exhibition constitutes a state of latency, making reference to sculpture’s coming-to-presence, the possible ways it can be “put into operation,” in the present and the future. In a kind of prologue, eight new “figures” are introduced. Fields on the ground mark out their spatial arrangement, creating a stage on which the “figures” cannot be recognized in their concrete form. Covered in sheets, they relate the possibility of their appearing at some other point in time. Each is assigned a field on the wall which indicates the scenic context of the action that has yet to take place. Pernice’s enactment allows a moment of tension to unfold, set off by playing with the preconditions of the constitution of meaning.

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Melanie Ebenhoch’s work examines the potential force of imagination. Her paintings deal with irritating moments, in which perception begins to stagger, imagination is challenged, and expectations start to waver. Stylistic elements of illusionist painting as well as cinematic presentations interlock in order to question the habitual ways in which they are perceived.

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Since the beginning of modernity, the arts have been attached to the ideals of a libertarian life and have propelled the criticism of social norms. At present, however, artist-critique faces a fundamentally altered situation. The demand for freedom and autonomy has long gone hand in hand with a process of economic exploitation. Creativity, flexibility and self-realization form the basis of a new model of economic value-creation. To the extent, though, that aesthetic ideas are no longer the purview of art alone, they can no longer necessarily be identified as constituting cultural counterpoints. Thus “[t]he long-cherished self-image of the arts – namely that they belong to the realm of criticism and emancipation – has been shattered” (Christoph Menke). To the backdrop of these developments, the Freedom of Purpose series of events examines forms of production that question the conditions of economic productivity, imperatives of effectivity and principles of purposiveness.

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In her artistic practice, Inga Danysz focuses on the radical changes of power structures. While earlier disciplinary mechanisms aimed at the apparent influence on the body, the post-disciplinary society is confronted with the appropriation of the entire social space. Danysz questions the paradoxes of the control society, its denial of repressive power structures and examines the signs of post-democratic reversal.

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We meet in order to rest, to recover, to linger, and to reclaim; to restore the possibility of breaking up, to be with one another, to quarrel and to reconcile. We form unions and alliances to make this place by playing.

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Most illustrious Princes, often have I considered the metallic arts as a whole, as Moderatus Columella considered the agricultural arts, just as if I had been considering the whole of the human body; and when I had perceived the various parts of the subject, like so many members of the body, I became afraid that I might die before I should understand its full extent, much less before I could immortalise it in writing.

Georgius Agricola, Re De Metallica, 1556

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Release

8 pm reading by Karl Larsson, 9 pm reading by Clare Molloy,
monster drinks by Paul Spengemann, outdoor music by Mense Reents


Pfeil Magazine 9 | Error

With contributions by Mitchell Anderson, Christiane Blattmann, Adam Christensen, Tyler Coburn, Hans-Christian Dany, Michael Dean, Gina Fischli, Flaka Haliti, Laëtitia Badaut Haussmann, Lina Hermsdorf, Judith Hopf, Karl Larsson, Clare Molloy, Susan Morgan and Thomas Lawson, Mense Reents, Stacy Skolnik, Paul Spengemann, Ramaya Tegegne.

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Torben Wessel’s art deals with the channeling of sensory information. He takes up web phenomena dedicated to the production of sensory stimuli and considers the shift from information to emotion in digital space as well as the associated cognitive and receptive changes. By reflecting on the effects of commodification, Wessel shows that economics is no longer just one part of society but has long since pervaded all social action.

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Ramaya Tegegne’s work addresses the processes by which the field of art is constituted. It focuses on those artistic practices which, from the 1960s on, began to make visible art’s social, economic and cultural determination, in this way problematizing dominant mechanisms within the field. Tegegne frames this issue through an examination of the social preconditions of art’s production, presentation and reception under present conditions. When she cites and appropriates historical artistic material, transposing it into a broader context, she does so in order to open up access to existing material, and in this way to open it up to experience.

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