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Siouxzi Mernagh / Matthew MacKisack / Lauren Moffatt / Gabi Schaffner / Kerstin Cmelka / Gerard Carson / Richard Mosse / Pauline Carnier Jardin / Anna Niedhart
Curated by John Holten
Screenings:
Berlin - Altes Finanzamt - Jan 12, 2011
Dublin - Block T - May 25, 2011
Oslo - Tbc
For Immediate Release:
This issue of the Kakofonie, ‘the video issue’, has been compliled by BDP writer and editor John Holten. It is an attempt at eschewing the accepted norms of a video exhibition and presents nine very different artists working in the same medium. The calibre of the artists involved, their diverse backgrounds and wide ranging subject matter ensures that the issue lives up to its name; the resulting cacophony ranges from a re-enactment of a scene from a Michel Haneke film, to a suicide bomber’s martyr recording, an animal circus via an investigation into a fictional archeological dig.
The Kakofonie is a European journal of art and literature that takes a different physical form for each issue. It presents multi-linguistic, multi-form work from across Europe in curated, polyglot editions. It has enjoyed myriad manifestations and appearances, some of which included it being postered on an abandoned shopfront in Grønland in Oslo, Norway, a flyer turning up in countless cafes across Europe, it has also been featured in the Musuem of Contemporary Art in Leipzig, on Basso’s wall at Kunst Werk in Berlin as well as in postcard form.
This issue has been available online and has had a screening in Altes Finanzamt in Berlin in January 2011, with a further screening planned in Aubervilliers, Paris and one in Oslo, later in 2011. Along with being screened in Block T in Dublin’s Smithfield, it will also be included as part of the INFlux art fair in Limerick.
Kakofonie 004 will feature Cia Runne and Jota Castro and will be released May 2011 -
Shahid
Cinematography and Editing by Trevor Tweeten
Film Colouring Post Production by Jerome Thelia
Richard Mosse
Born in Dublin, Ireland in 1980. Mosse studied at Goldsmiths, London, before earning an MFA from Yale School of Art. His work has been exhibited at the Akademie der Kunst, The Aperture Foundation, Barbican Art Gallery, Houston’s Fotofest 2010 Biennial, Musee d’Elysee, Storefront for Art + Architecture, and Tate Modern. It has been reviewed in Artforum, Art in America, Art Review, Frieze and Source. His work has been acquired by the Martin Z Margulies Collection, the Museum of Contemporary Art Chicago, the Nelson-Atkins Museum of Art and others. He lives in New York City and is represented by Jack Shainman Gallery. Mosse won the Ormeau Baths Gallery Perspective Award in 2005 and was awarded the Leonore Annenberg Fellowship (2008-2010).
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Statement of Intent 1
Gerard Carson
Gerard Carson is a visual artist based in Belfast, Northern Ireland, specialising in creating multimedia sculptural and video works which study themes of the annexed object/space, the rediscovered document, and the appropriation of texts from a variety of sources. He is currently undertaking a year-long residency at the University of Ulster School of Art and Design, Belfast. -
Die Fassade
Concept by Lauren Moffatt
Music by Deborah Wargon
Film by Sidonie Roberts and Lauren Moffatt
Lauren Moffatt
Born in Armidale, Australia. After studying painting at the College of Fine Arts in Sydney she relocated to Berlin where she has been based sine 2005. Having completed a number of collaborative and solo projects in Germany, Australia, Ukraine and France, Lauren has been active as an experimental filmmaker, curator, writer and installation artist for over a decade. She is currently completing a Masters degree in New Media at Université Paris 8, Vincennes Saint-Denis in Paris.
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töt
oliver wrage / one stupid futurist (music)
julia penner (voice)
visuals soni riot
Anna Niedhart Sobriquet: Soni Riot
Recent exhibitions: A Touch of Evil, Stattbad Wedding, Berlin; Who Is Afraid of Freindly Capitalism, Neurotitan, Berlin. An art director at Platoon Berlin. www.soniriot.com / www.pampig.org / www.annaniedhart.com
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Midsummer Knights
Animal Circus
Gabi Schaffner
Works as a traveling artist, writer, photographer and publisher within the field of ‘autopoetic systems’. First audio works were done in 2002. Since 2006/07 she has also produced radio shows for Deutschlandradio Kultur and Hessischer Rundfunk.
www.schaffnerin.net -
Ah! Jeanne
Pauline Curnier Jardin
Born 1980, France. Most recent exhibitions: Dynasty, ARC et Palais de Tokyo, Paris Screened Realities, IG Bildende Kunst, Vienna and The Unclassifiable Romanesco (with Catriona Shaw), performance, Galerie Ben Kaufman, Berlin. www.paulinecurnierjardin.net
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Exit
Siouxzi Mernagh
Freelance writer and filmmaker creating work in Berlin and Sydney and a former fellow of the ICI Berlin. She has written, directed, produced and designed seven short films and has written and edited scripts for feature films. In 2009 she completed her first novel, White Tales. Currently developing 'Wanderlight', a fiction/documentary fusion feature film set in Eastern Europe. -
Ich Liebe Dich
Kerstin Cmelka
Born 1974 in Mödling, Austria. Most recently she has taken part in Gestures - Performance and Sound Art at the Museum of Contemporary Art, Roskilde, Denmark (2010), Scorpio's Garden in the Temporäre Kunsthalle Berlin (2010) and Playing Homage, Contamporary Art Gallery, Vancouver (2009). In collaboration with Ann Cotten she made the book I, Coleoptile. She is included in the upcoming KW69 #3 Cold Society curated by Judith Hopf at KW Institute of Contemporary Art. Jan 20 - Feb 20, 2011 -
Apocrypha of a Kakofonie
by John HoltenHating Women
I wouldn’t for the life of me be able to say why history is full of men who hate women. Even if one were to try to answer such a conundrum, they would be left facing the question: why so much hate in history tout court? Let us look at history as a long line of emotions, a scale of feelings, good or bad, disgust or attraction, and we can add here hate and love as two more markers, with the coordinates of events and their repetitions gravitating more toward the former than the later. As soon as you start to plot emotions on a graph you have backed into a dead end.The Circus
The curious thing about the circus is that one of its features is always to engage the audience; at some point in the evening’s show the ringleader will enter into the tiers and much to the delight of the half-worried, half-self-conscious parents, pick some child already losing the memory of being brought down into the ring to ride the back of some caged horse let loose in a 0 that never ends. The circus is for children but overseen by adults. The circus is an allusion of a trick performed well for an audience adrift in the throes of forced amnesia.Narrative disjunction
…when the event happens people don’t notice, they don’t notice the State intervening and watching (think of Althusser’s Ideological State Apparatuses) and then well no, it’s just people walking along the street, the city, the Everyday as profane fairyground. WD walked home slowly, thinking to himself about the graffiti, the marks that he respected but somehow feared…Michel Haneke
‘I always say that not only film, but books too, are like ski jumps. They have to be built in such a way that people can jump properly. But the film is the ski jump and it’s up to the spectator to jump.’ Let’s have love as a ski jump, too. Perhaps.Self Perception/External Perception
We see ourselves when other people see us. Sartre bends down and puts his unblinking, ruined eye next to the keyhole and looks on with his breath held. Watching. Behind him on the non-creaking stairs another, the Other, creeps up and watches the philosophe watching and being arises on the dark stairwell like rubbish left on the streets after the carnival.Interpretation
The beast. Let us not say disability instead of aggression. Revolutionary perception is akin to reasons why Big Brother would carry out an archeological dig.Insurrection
And preserve the dignity of our people. And preserve the dignity of our people. And because you have killed innocent people and destroyed our homes. And because you have besieged this oppressed people. But the result is the same.
It is death.Death
This cacophony in our ears then is full of death and love and misunderstanding. The circus shows us how to interpret death: cage it and then forget about it until it next rides into town. Occasionally laugh in its face.