where the east ends
07. September 2008 to 19. October 2008
Zbyněk Baladrán / Anton Bosnjak / Pavel Braila / Nikolin Bujari / Wojtek Doroszuk / Vladlena Gromova / Nicolas Grospierre / Driton Hajredini / Ciprian Mureşan / Marina Naprushkina / Vladimir Nikolić und Vera Večanski / Damir Očko / Kamen Stoyanov / Milena Zarić
Opening Saturday, September 6, 2008 / 5 to 8 pm
Guided tours with the curators every Sunday / 3pm
Artist talk on Sunday, September 7 / 12 to 2 pm
Finissage on Sunday, October 19 / 3 to 6 pm
The exhibition is curated by six stipendiaries of the Robert Bosch Foundation's program Cultural managers from Central and Eastern Europe: Adela Demetja / Nora Dorogan / Radmila Joksimović / Magdalena Lipska / Nadezhda Simakina / Siarhei Bohdan
Zbyněk Baladrán / Constructivist Model Tower (2006)
Zbyněk Baladrán’s video installation Constructivist Model Tower (2006) is a follow up to Vladimir Tatlin’s “Constructivist Tower“, one of the biggest symbols of the communist utopia, which Tatlin has conceptualised for the 3d International in 1919. Tatlin’s tour reflected dynamism and revolution, pointing out to a better future, which never came. Baladrán recreates in his video a tour from accidentally pitched old books which because of its instability represents a menace to the revolution.
Anton Bosnjak / Whitecube loosening (2006)
Through his polystyrene sculptures – Whitecube Loosening (2006), Anton Bosnjak analyses the influence of the wars in the Balkans and the devastating consequences on the architecture and urban development. Photos of bombed buildings in his homeland Bosnia – Herzegovina serve as a basis for his white sculptures made out of packaging waste of consumerism.
Pavel Braila / Eurolines Catering or Homesick Cuisine (2006)
In his video - performance Eurolines Catering or Homesick Cuisine (2006) the Moldovan artist, Pavel Braila, ironically describes the migration process in the Republic of Moldova. The artist tracks down the peculiar practice of preparing and shipping Moldovan traditional food to Berlin by bus. Pavel Braila asks his family to send him, using the Eurolines bus company, Moldovan traditional food and wine for the opening of his exhibition in Berlin. And thus transforms homesick cuisine into an exotic garnish and the craving into a performance.
Nikolin Bujari / Parking forbidden (2004), Zogu I Zi (2005)
Nikolin Bujari shows in his video-documentations Parking forbidden (2004) and Zogu I Zi (2005) the infrastructure deficiencies in her city Tirana which were caused by the failure of the government. In „Zogu I Zi“, Bujari covers a big billboard, which advertises the construction of the big intersection point which was never brought to an end, with a photo showing the real situation. In „Parking forbidden“, the artist points out to the disappearance of public spaces in her hometown through actions representing the reaction to social and political situation in Albania and at the same time presenting them as urban alternatives.
Wojtek Doroszuk / Reisefieber (2007)
Labour migration is apprehended by Wojtek Doroszuk’s video cycle Reisefieber (2007). In 5 films the artist presents himself in different life situations as a migrant and guest-worker (Gastarbeiter). Doroszuk plays with his own Eastern European and Polish identities. The works were done in Berlin, a city which has a special meaning for the German – Polish stormy history. At the end the artist raises the question of national identity in a globalised world.
Vladlena Gromova / Portrait (2007)
The video performance of Vladlena Gromova, Portrait (2007) opens the exhibition with wondering about artistic identity. One can observe how the self portrait of the artist emerges on the white canvas, behind which she hides, recalling motives of René Magritte and Jean Baudrillard’s thesis. But can an artist, in general, (re)present him/her self? In howfar can a person allow the exterior to determine itself? Can he/she internalise it? Is the highly symbolic apple a true indulgence?
Nicolas Grospierre / Botschaft (2008)
For his photo series Botschaft (2008) Nicolas Grospierre took during one year photos of the abandoned buildings of the former Hungarian embassy in Warsaw: the time, the traces of the past look frozen, unaffected, as being left behind in a big hurry. Grospierre analyses in a cautious documentaristic style the modern architecture of the buildings and gets on with the search into the past until its voyage among the forgotten rooms sways into the imagination: his power of imagination, which is to be seen, cannot any longer be separated from it.
Driton Hajredini / The Guard, The Gurdians, The Guardians II (2006/2007)
Driton Hajredini shows three paintings from the series of “suit case paintings”: The Guard, The Guardians and The Guardians II (2006/2007). In this series he explores the experience of migration. He paints the suitcases in the realistic manner, open or closed, full of books or records, or empty. In the three paintings on exhibited in NKV, there is another motif added to the suitcases – a crow. This bird bears the feeling of discontent and unpleasantness, both of them closely connected to one’s decision to leave his home land. The artist himself, decided to leave his native Kosovo, because of the heavy politic situation. “Suit cases paintings” stand therefore for his strive to make Europe his new home, whereas at the same time the desire to come back to Kosovo always exists.
Ciprian Mureşan / Communism Never Happened (2006)
In his work, Communism Never Happened (2006), Ciprian Muresan transposes the leitmotiv of the exhibition. The sentence –cut out from the LP “Cintarea Romaniei” - one of the propaganda products of the Ceausescu regime, addresses the bias of the communist past and tries to establish a connection between the private and the societal history. In an ironical manner, Muresan speculates the discrepancy between the unrealised ideals of socialism and the desire afterwards to end the communist trauma. However, maybe precisely this discrepancy is part of the common past and thus comprised in the identity of the Centre, Eastern and South-Eastern European societies. Hence it can’t be denied in the artistic endeavours either …
Marina Naprushkina / Patriot I, Patriot II (2007)
Belarusian artist Marina Naprushkina, student at the Städelschule in Frankfurt, questions in her video performances Patriot I and Patriot II (2007) the relationship between her artistic and national identity. In Patriot I she is sitting at her desk in the middle of the night making two Belarusian flags, cutting paper and creating the flag with confident movements and such an attention as if making an art piece. Patriot II shows the artist walking through the city, passing by the most important public spaces in Minsk, carrying a framed portrait of the Belarusian president. A seemingly harmless action, but if considered an insult to the president can be severely punished.
Vladimir Nikolić und Vera Večanski / How to Become a Great Artist (2001)
In their video How to Become a Great Artist (2001), Vladimir Nikolić and Vera Večanski raise the question of artistic accomplishments. “The Great Master” teaches a young artist the necessary skills to become a master one day. Oddly enough, she has to exercise martial arts and learn tongue twisters, needed to learn the “master skills” – self confidence and self promotion. And of course, one cannot become a great artist without speaking English...
Damir Očko / The Boy with a Magic Horn (2007)
The installation of Damir Očko, The Boy with a Magic Horn (2007) opens up the section on urban transformations – the central point of an architectural project started in 1980 in Croatia, a plan for an almost 250.000 m² University Clinic (hospital). The architectural plan is an abandoned construction of one of the most extraordinary monuments of that time. Očko’s imaginary figures travel through the abandoned scaffold. The characters from his film transform the building into a ghost architecture, captive in time and space, somewhere between what it was, what it is and what had to be.
Kamen Stoyanov / Bingo Topologie (2005)
My project deals with a concrete place in Sofia, that is – a bingo hall and its surrounding. I came to this place or better said this place, with its supposedly unfounded logic brought me to reflection. My interest is in the larger dynamics of this city, which is caught up in the process of a brutal transformation from socialist to capitalist society and spatial planning, in which the three-dimensional décor is no longer exclusively built by the State, but instead, almost entirely by rapidly spreading capital. One ideological argument is replaced by another that promises to be functional.
Milena Zarić / One-Way Ticket (2004)
Serbian artist Milena Zarić dedicates the photo series One-way Ticket (2004) to Chinese migration to Serbia, which started in 1997. The photos were taken in a Chinese market in Pančevo and in a Chinese shopping mall in Belgrade, where she catched everyday life moments of the migrants: at work, resting or spending time with their families. In a melancholic setting, in the middle of kitschy merchandises, the photographs discover the Chinese emigrants through Serbian eyes - a group without character, which remains foreign and distant.
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Nassauischer Kunstverein Wiesbaden
Wilhelmstraße 15, 65185 Wiesbaden
Tel +49 (0)611 301136
Thur - Sun, 11 am - 6 pm