"grass from the edge...

20090619

news from artists and friends of "grass from edge......

joseph darbernig in "THE DEATH OF THE AUDIENCE" curated by Pierre Bal-Blanc at sessecion Jul 3 – Aug 30, 2009

katrin plavcak in "Schere - Stein - Papier" Pop-Musik als Gegenstand Bildender Kunst kuratiert von Diedrich Diederichsen at Kunsthaus Graz 6.6.-30.8.2009

valentina liernur at the other (frankfurter kunstverein)

natalie goller at eulengasse 25.7.2009 - 2.8.2009

20090523

"Bring me the Grass..." on the news

Balls for the art business

sharlene khan and fouad asfour visit

hans petri studio

anja sopic studio

caroline krause studio

eva schwab studio

alex akem studio

martin felbauer

"living and dying in africa" global shoper

photo by axek schneider

"Living and Dying in Africa", Installation, 2009
Material: Global shoppers
Dimensionen : 530 x 300 x 380 cm

by claudia shneider
master builder garfield taylor

avi dehlinger

"Living and Dying in Africa"global shopper,

Installed at 'Right on the Rim' Project Space,

Arts on Main in Johannesburg in March 2009

Photo by Graeme Williams

"the magic in the grass..."

The magic, out-of-the-box function of contemporary art to offer solutions and new views of the contemporary world has been widely overused. Instead of making accessible even more zones of human awareness and involvement, the works indirectly address a basic questions about the involvement of arts with the viewer, that is, the performative aspect of communication: What could we say? What do we claim to know? and: How do we get rid of the idea about what we are doing? and finally: Why is it important that we might not know what we are doing, but still trust the feeling that we must do it, and why is it important that we do not need to explain to anyone why we are doing this, and not something else?

While the works stand on their own and do not necessarily interact with each other through content or form, they are gathered in a space of production, namely the artists’ studios of atelierfrankfurt. This way they open up another space for an unmotivated communication which is not asked for. Different considerations which were thrown back and forth between the curators in Johannesburg and Frankfurt, have framed this show, among others the text by Maurizio Lazzarato, “From Knowledge to Belief, from Critique to the Production of Subjectivity”, where the relation of belief and the sphere of the political is addressed in a quote by Gilles Deleuze: “The fact today is that we no longer believe in this world”. This statement is later extended to an explication the condition of the performative in the sentence: “Be afraid and have no trust in the world, the others and yourself”.

At this point, the curators could give a few traces of what Frankfurt and Johannesburg have in common: both cities are the economic centres of their continents, both are connected by widespread imaginations about ubiquitous violence, by fear of criminality and drug abuse, and by the immense repository of “fearing the foreigner” inherent to the mechanisms of competitive trans-national economies today . . . but . . . no, the curators both explicitly refuse to engage in considerations about political realities in Europe and Africa today.

This exhibition offers a frame for movements in contemporary art to turn around and laugh in the face of the powerful, showing that life is not defeatable, that ways and movements of forms and expressions never can and will be regulated or formalized. At the same time it gives space to an unconditional affirmation of the connection of commitment to communication with a position of radical subjectivity, disclosing a fundamental connection of art and society. A manifesto for a move to a subjectivity, which is not to be held accountable or asked to be responsible, at the same time sharing its experiences freely, offering generously a space for all interpretations and translations. Ultimately, this amounts to a call for a systematic non-systematicality which is subjectively non-subjective.

The exhibition shows art works by artists from South Africa, Germany, Kosovo and Austria which undermine the expectation of the viewer to give an answer to one problem or the other, which currently perturb the world or some people not further specified. Refusing to present solutions, answers, or to offer consolation to the troubled, they chose different paths in order to address content or issues of common interest. While pointing to zones of missing attention or utter imagination they enjoy to engage in a mix of indolence and aesthetics as well as perceptional pleasure.

fouad asfour

20090513

ulu braun "westcoast"

Westcoast, 2009

7.20'' HD video projection

This video will be presented every saturday from 3 pm to 6 pm.

20090510

...the edge of the image"

saul judd, curator based in frankfurt, will select art works from the exhibition

"bring me a leaf of grass from the edge of the image"

which was started by fouad asfour and was presented until the end of april 2009 in weinheim.

the pieces will be exhibited at atelierfrankfurt in "bring me a leaf of grass from the edge of the image" chapter II for six weeks, from 5 of june to 11 of july 2009, open from thursday to saturday and by appointment. during this period saul judd will do a weekly guided tour through the exhibition.

the art works will be presented to the artists who have a studio space at the atelierfrankfurt and asked to host the works from the "bring me a leave of grass from the edge of the image" exhibition in their studio space and to interact and deal with the main idea of the project.

the artists at the atelierfrankfurt will be able to choose the work that they want to host. it will be a first come first serve situation. it will be up to the artists to create new works for the project or just show existent ones.

for the opening of the project we are planing a talk between the makers of the project and the artists from frankfurt and the artists from south africa via internet.

as a next step we plan to take the project to johannesburg. we will try to arrange, if financial means are available, to take one artist from austria and one from germany to south africa. this part of the project is entitled

"correspond (bring me a leaf of grass from the edge of the image)"

a) it is the result of a response of artists in atelierfrankfurt

b) in johannesburg artists and writers will be asked to react on the presented pieces and the project as a whole and

c) the project emerged from a correspondence between the curators and organisers and it will consist of an exhibition and a series of workshops. the workshops are planned to take place in 2010.

catrin bolt @ jasmine justice

this photographic works of catrin bolt will be shown together with

new paintings from jasmin justice in her atelier on the 3th floor.

Skulpturenpfad. Stein, 2006
Photography, 46 x 30,5 cm, Edition 2+1

Skulpturenpfad. Aschenbecher, 2006

Photography, 46 x 30,5 cm, Edition 2+10

Skulpturenpfad. Sofa, 2006
Photography 46 x 30,5 cm Edition 2+10

Skulpturenpfad. Tueren, 2005
Photography 46 x 30,5 cm Edition 2+10

Skulpturenpfad. Tisch, 2005
Photography 46 x 30,5 cm Edition 2+10

lazar lyutakov @ carolina krause

this video works from lazar lyutakov will be shown together with

new painting and photgraphic work from caroline krause in her atelier on the 3th floor.

Video zum Einschlafen (video to sleep), 2005

DVD, 6.30’’ Min.

This work can be showed on a monitor.

kemang wa lehulere @ anny & sibel öztürk

Baleka, 2008

Tusche und Kohle auf Fabriano Papier , 49 x 34,5 cm

Uguqul iBatji 1 (2008)

Tusche und Kohle auf Fabriano Papier, 51 x 34,5 cm

Com(b)ing Time 2, 2008

Tusche und Kohle auf Fabriano Papier, 35 x 49 cm

sharlene khan @ bea emsbach

this drawings from sharlene kahn will be shown together with

new drawings work from bea emsbach in her atelier on the 2th floor.

Durban at Work (2000–2001)

Tusche auf Papier, 21 x 30 cm

Durban at work, 2000 - 2001

Ink on paper, 10 x 15 cm, Series of 3

Durban at work, 2000 - 2001

Ink on paper, 10 x 15 cm, Series of 3

Durban at work, 2000 - 2001

Ink on paper, 10 x 15 cm, Series of 2

Durban at work, 2000 - 2001

Ink on paper, 10 x 15 cm, Series of 2

Durban at work, 2000 - 2001

Ink on paper, 10 x 15 cm, Series of 2

ulu braun @ eva schwab feat. mathias deutsch

Die Physiognomie des Reisens I a–c „Phantome“, 2007

3 Fine Art Prints auf säurefreiem Papier, 30 x 40 cm

Signierte Edition, 1/5

Die Physiognomie des Reisens III a-c „Beweglichkeit“, 2007

3 Fine Art Prints auf säurefreiem Papier, 30x40 cm

Signierte Edition, 1/5

katrin plavçak @ corinna mayer

Strahlenarmut, 2004
Oil on cotton, 30 x 30 cm

Mexiko, 2006

Oil on cotton, 30 x 40 cm

Quiet traveler, 2006

oil on cotton, 40 x 30 cm

Radar (hey bucky), 2004,

Pencil on paper, 50 x 70 cm

All these works will be in view at Corinna Mayer's studio

on the 3th floor.

sissi makovec @ anja sopic/anne dahl

installation "moloko Plus" by anja sopic

work by sissi makovec with an intervention by anja sopic.

Stable Paranoid System

A wants to hit B but can hit B only if having been hit by C.

B wants to hit both A an C simultaneously but can't decide which first.

C wants to hit A, but can hit A only if B is absent.

@ sissi makovec 2009 all rights reser

A destroys the future of B.

B, with the last of hist strength, manages to destroy the future of C.

And C should have thought about dealing with A much earlier.

@ sissi makovec 2009 all rights reser

stable paranoid system

A wants attention from C while ignoring B

B wants attention from A ignoring D

C wants attention from D ignoring A

D wants attention from B ignoring C

Stable paranoid system

A beats the rhythm BBCBBBBC

B beats the rhythm ACACCACACC

C beats the rhythm BBBBAAA

If A bisects B

and B then bisects C

and C hereupon bisects A

, ... and now A wants to bisect B: which part of B is B and how can A
possibly consider itself still being able to bisect B?

@ sissi makovec 2009 all rights reser

Six panel,

Silkscreen on paper, 100 x 70 cm

Ed. 1/4

sissi makovec @ sandip shah

Wie außerordentlich gut daß unsere Welt nicht doppelt und durchsichtig ist,

(How extraordinary good that our world is not doble and transparent), 2007

Pencial on paper, 100 x 70 cm

Emu, 2007
Pencil on Paper, 100 x 70 cm

flaka haliti @ eva köstner

My Balls, 2008

Video Documentation, 3 min.

Die Videoarbeit „My Balls!“ (2008) dokumentiert die klandestine Aktion der Künstlerin Flaka Haliti, die, einem Zitat eines männlichen kosovarischen Kunstkritikers folgend “we don’t have women famous artist internationally named cause they don’t have balls, to produce art, and use spaces.” in der Kosova Art Gallery ein als Geschenk verpacktes Paket mit Bällen deponierte.

Diese Videoarbeit wird im Atelier von Eva Kostner gezeigt.

20090506

sharlene khan @ martin felbauer

MaAfrika - My Struggle to become A Child, 2002

Silkscreeng on paper, 19,5 x 19,5 cm

Signed edition 2/14

African Portraits III, 2002

Oil on paper

7 Postcards ( 8,5 x 13,5 eacht)

ulu braun @ paula anta

Die Physiognomie des Reisens II a-c „Durst“, 2007

3 Fine Art Prints auf säurefreiem Papier, 30 x 40 cm

Signierte Edition, 1/5

Südwest, 2006

DVD, 1 Min. 42 Sec.

katrin plavçak @ alex akem

Intact crash, 2002, dvd 6min.

This video work can be showed in a monitor.

Honey, 2003

Oil on cotton, 50 x 60cm

josef dabernig @ natalie gollar

Sportfield in trebisacce, 2004

color prints (5-pieces), framed

31 x 45,5 cm Ed. 1/3 - total length 247,5 cm

kemang wa lehulere @ mara monetti

Uguqul IBatji, 2008

Ink and charcoal on Fabriano Paper, 70 x 49,5 cm

Papaka (2008)

Ink and charcoal on Fabriano Paper, 70 x 50,5 cm

amos letsoalo @ silke voss

Treasure, 2006

Oil on canvas, 80 x 80 cm

Fertility, 2007

Charcol on paper, 76 x 56 cm

video chating with sharlene, fouad and kemange in johannesburg

video conversation between some of the artist and curators of the project
including mara monetti, carolina krause, corinna mayer, jasmin justice, martin felbauer, flaka haliti, sissi makovec, anne dahl, ale sehm, silke voss anne and silbel öztürk fouad asfour, saul judd, sharlene kahn and kemangen wa helulere.