Monika Grabuschnigg

For thousands of years the human hand has formed clay and earth to create useful things and to express the inner workings of the mind. Today, however, an essential part of the personal world of experience has shifted to virtual space. The effects of this change are physically perceptible, but often difficult to grasp. Monika Grabuschnigg traces the changing experience of reality by translating processes of the virtual into material ceramics. For the exhibition “In Delirium I Wear My Body” at the Studioraum 45cbm of the Staatliche Kunsthalle Baden-Baden, she creates three new ceramic reliefs reminiscent of bodies – bodies that form freely and de-realize themselves.

Monika Grabuschnigg (*1987 in Feldkirch, Austria) lives and works in Berlin.

The exhibition is supported by Land Vorarlberg and Österreichisches Kulturforum Berlin.

Free admission

Accompanying to…

Valentina Knežević

Why does a human voluntarily go to war? What happens when war, as one of the most extreme forms of violence, becomes part of everyday life? (Valentina Knežević)

The works of Valentina Knežević shown in the exhibition #4b5320 are dedicated to the figure of the professional soldier. She focuses on war as an abnormal state that has become normal for the people affected. The exhibition shows Kneževićs video VOICEOVER I as well as four digital photo text collages. Both works are based on conversations with soldiers and veterans. The works reflect the social and psychological dynamics of the professional army, they turn the absurdity of everyday warfare to the outside, and last but not least, give the soldiers a voice.

Valentina Knežević (Split, Croatia) lives and works in Frankfurt am Main.

Accompanying to…

René Stessl

“Make Egoism Great Again!” This guiding principle could stand for those nationalist tendencies worldwide that force politicians to trade tariffs against other countries or enforce border controls for their own protection. But do you really need more selfishness these days? The exhibition by the Austrian artist René Stessl (*1974) invites you to explore this complex topic. Two tables, two chairs and a plant make up the interior of “The Restaurant of Egoists” in the studio room 45cbm. Food and drinks of the Café Kunsthalle can be ordered and consumed in the installation itself. In doing so, the guest sits down to meet himself. The principle of a relational aesthetic in the sense of Nicolas Bourriaud, who understands works of art as social environments, in which experiences are shared, is humorously counteracted by Stessl.
Opening: Friday, February 1st, 2019, 7pm

Welcome speech: Johan Holten, Director of Staatliche Kunsthalle Baden-Baden
Introduction: Hendrik Bündge, Curator of the exhibition

René Stessl (*1974, Bad Radkersburg, Austria) lives and works in Cologne. He studied at the Academy of Fine Arts in Vienna with professors Mona Hahn and Erwin Bohatsch and participated in numerous solo and group exhibitions worldwid

Accompanying to…

Hanna-Maria Hammari

Hanna-Maria Hammari, a graduate of the University of Fine Arts – Städelschule in Frankfurt am Main, received this year’s Förderpreis für Bildende Kunst from the Foundation for Fruit Painting and Sculpture.

Central to Hanna-Maria Hammaris installation for the studio space 45cbm are several clay sculptures, which in their formal language are reminiscent of surface structures of stripped reptile skins. A balloon fastened to one object and filled with helium seems to float in space forever, but time forces it to the ground. It is a subtile play of growth and finitude that Hammari negotiates with a fine sense of materiality and space in her works.

Hanna-Maria Hammari (*1986, Tornio, Finnland) lives and works in Frankfurt am Main. From 2011 to 2017 she studied fine arts at Städelschule in Frankfurt am Main under Tobias Rehberger and at Cooper Union in New York (2016).

Accompanying to…

Kasia Fudakowski

Everything that is not a basket, is a bad basket

Fudakowski, 2017

Bad Basket presents a body of work initiated by a European artist in collaboration with five Mexican artisan weavers, during a stay in Mexico in 2017. Against the background of raising awareness of the appropriation tendencies of contemporary art and the Mexican colonial history, the artist uses the resulting works to question the narrow range between cultural inspiration, influence and appropriation.

Mexico has always exercised a tremendous hold on the imagination of outsiders. Over the centuries, visitors have marvelled at its tremendous economic possibilities and been lured by its ‘exotic’, expressive cultures.

Extract from the introduction to The Mexico Reader, Edited by Gilbert M. Joseph and Timothy J Henderson, 2002.

Entering the exhibition necessitates a certain forcefulness from the visitor. The heavy metal Cantina doors, which block the visitors view on the objects behind the doors, carry an extract from B. Traven’s short story entitled Assembly Line, painted on their surface by Martin Hernandez Robles, a Rotulista (sign writer) from Mexico City.

The creative person should have no other biography than his works.

B. Traven

The author B. Traven is best known for his short stories, first published in the 1920’s, about the lives of ordinary Mexicans, which demonstrate a very accurate and insightful local knowledge. B. Traven is the nom de plume of an author whose biography is shrouded in mystery, made even more complex by the fact that his writings published in English, are full of Germanisms whereas those published in German are full of Anglicisms. The extract, painted on the swing doors, focuses on a dialogue between a native New Yorker and an indigenous artisan from Oaxaca, introducing the compounding tensions of the exhibition’s context.

Today, being an artist is the norm; specialists are the exotic birds that artists once were. To work with a specialist has become an exquisite experience that can easily be turned into a piece of art.

Extract from What people do for Money Manifesta 11 review in Art Agenda, Ingo Niermann, 2016.

The three woven works demonstrate the result between Fudakowski and Martina Garcia Garcia, Marivel Hernandez Marcelino and Augustin Mendoza respectively. Each piece was created by the artisan and the artist weaving alternatively each hour. To differentiate, the natural coloured areas were woven by the artisan, while the brightly coloured areas by the artist. A close look reveals the imbalance in ability not only through the mistakes created by the artist while weaving, but also the slow pace at which she was able to work, while the skill and speed of each artisan is clearly evident. The woven works are accompanied by black and white photographs, documenting the collaborative process, which mimic photography from Mexico’s colonial past.

Kasia Fudakowski (*1985) lives and works in Berlin.

Accompanying to…

Ad Minoliti

Ad Minolitis work revolves around the relationships between the tradition of abstract painting, (interior) design and gender. Part of her artistic strategy is the imagination of a queer, parallel universe, which she reflects in a reinterpretation of art-historical as well as social conventions. To this end, the artist appropriates the geometric formal language of modernism: Once the bearer of utopian life plans, with Minolitis work this culminates in a cheerful feminist project.

Her exhibition “Coven” combines digital prints and a video in front of a mural that replaces the normative principles of museum display with the artist’s own alusive interpretation system. A play of aesthetic and popular cultural signs, of quotations of form and media takes its course.

Ad Minoliti (*1980 Buenos Aires) lives and works in Argentina.

Accompanying to…

Schirin Kretschmann

The site-specific works of Schirin Kretschmann impress with their presence. In her “installation paintings,” for example, she sifts large areas of luminous pigment over degraded architectural elements or places colored ice cream in the exhibition space, which subtly blends with the surroundings in the process of melting and drying. The processual character of each work develops mostly after the supposed completion.

In the Studioraum the artist realizes a work with black dubbin. As a synaesthetic experience, this intervention is constituted by the tension between the material’s properties and the specificity of the exhibition space.

Accompanying to…

Sarah Ancelle Schönfeld

Recent controversy was unleashed amongst the scientific community with the publishing of a paper arguing that the genome sequence of cephalopods (octopuses, squids, and cuttlefish) bear a striking elaboration of particular genes normally found in higher order vertebrates. The isolated articulation of these genes has generated almost 33,000 more protein-coding instructions than are to be found in humans. Unable to adequately explain the particular evolutionary trajectories that would account for the unique developments of genomic complexity amongst cephalopods, the paper concluded (rather tongue-in-cheek) that octopuses are “aliens.” The public was quick to understand this statement not as metaphor, but as literal: octopuses must not be from this world at all! Undoubtdetly, this bemusing misunderstanding has resulted in a fair bit of pop cultural hype. Though cephalopods are, in all likelihood, not “aliens,” it does serve as a stimulating thought exercise to imagine that if indeed this were the case, what kind of a world do they – or rather, their genetic makeup – come from?

Cephalopods language is expressed materially, in the form of signals dissolved in oil. The common “ink” excreted by cephalopods, normally understood as a chemical alarm for signaling encroaching predators, is actually a cloud of encoded linguistic messages. It would seem a moot point – clearly, the octopuses are communicating with one another through ink. Yet, if we imagine a planet where these creatures are the predominant life form, then one striking quality of this planet would be its environmental composition as an inky, oily, murky cloud within which other, as-yet-unknown creatures would have to adapt and evolve. Our world appears as windy and wet; theirs is slippery and phlegmatic. Within this “cloud,” steroids – that is, specific, transmissible codes and commands in the form of soluble fats, also known as hormones – would create a density of signals comparable to an electromagnetic storm of all of Earth’s human transmissions via radio and television in the previous century. This would be a world of information-clouds bound in oil; not coded, immaterial data, but coded, three-dimensional, viscous materiality.

This leads to the second fascinating observation, that Cephalopods are not only capable of apprehending these cloud-hormones as a human would understand a sentence, but rather the social function of linguistic neural pathways is directly linked to the genes responsible for actively generating odors. This would imply that cephalopods respond to their material language by emitting an aroma. Let’s consider that much of the role of language in advanced intelligent beings goes beyond mere communication of “this” or “that,” but rather engenders modes of social production whereby language is interpreted and re-expressed as something else – as a law, a work of art, a building, a meal. These non-linguistic, or perhaps post-linguistic, factors are important when trying to image a cephalopod planet. Thus, octopuses are able to build, create, shape, and act through odor – they utilize a highly-refined capacity to generate and form odors to construct “regions of expe rience,” a concept roughly equating to the human notion of architecture. In their tentacular world of oily-inky liquid-messages, slithering arms, color-changing skin, and ephemeral mutability, it would make sense that their structures bear the same shape-shifting, mobile quality that suits the cephalopod character. What better than odor, the waft of a scent, through which an octopus actively constructs its art, its cities, its world? Indeed, smell is a sense so abstract to humans as “materiality,” and yet, so intrinsically related to memory, language, and the evocation of spaces and sensations – something the cephalopod, in its singular alien being, has deeply grasped.

Excerpt from “Octopus Oracle”, Ashkan Sepahvand on Sarah Ancelle Schoenfeld’s “Alien Linguistic Lab”

Accompanying to…

Ana Navas
The works of Ana Navas (*1984 in Quito, Ecuador) play with notions of zeitgeist. By appropriating profane forms, the artist investigates relations between sculpture and design, art and the everyday.

For her exhibition at the studio space 45cbm, Ana Navas combines new productions with existing works to an installative environment. A cut braid builds the starting point for an aesthetic reflection on the souvenir. Popular forms of personal souvenirs such as names written on grains of rice as well as forms that represent a collective form of memory are questioned as prototypes for social rituals and cultures of remembrance. With subtle humour Ana Navas transforms them into new shapes.

Accompanying to…

Eva Gentner und Adrian Nagel

Eva Gentner and Adrian Nagel

Award winner for Fine Arts of the Foundation for Fruit Painting and Sculpture – In the beginning was the apple

Central to the installation in the studio room 45cbm is a large cement carpet. The surface, with its fine folds and cracks, is reminiscent of natural rock formations. By passing over the viewer breaks and changes the structure. The loop is a composition of quiet subtle sounds, which is transformed by the movement of the visitor. The result is a walk-in sound carpet, which finally occupies the entire room.

Eva Gentner (* 1992, Ellwangen) lives and works in Mannheim and Heidelberg. She studied Fine Arts at the State Academy of Fine Arts Karlsruhe under Prof. Helmut Dorner from 2012-2017. Adrian Nagel (* 1990, Offenbach am Main) studied composition in Dresden, Basel and Freiburg. a. with Mark Andre and Caspar Johannes Walter.

Accompanying to…

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Staatliche Kunsthalle Baden-Baden
Lichtentaler Allee 8 a
76530 Baden-Baden


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