|
| |
|
| PROGRAM 2010 |
|
|
|
 |
|
|
|
|
|
|
|
|
|
|
| |
|
 |
In 2010 the general theme of the exhibitions at the Kunsthaus Bregenz will focus on issues of identity. The artist Candice Breitz, who was born in South Africa and now lives in Berlin, for example, deals with identical twins and the relation between those traits one is born with and those acquired through socialization. The New York artist Roni Horn uses various media, such as photography, drawing, and sculpture, to create portraits of people whose position hovers between authenticity and literary fiction. In her early exhibitions, the Cologne-based artist Cosima von Bonin has often used artists, musicians, and other cultural producers from her circle of friends to explore artistic identity, and even in her current large-scale installations and canvas works there is no one individual signature apparent in her work. The films and video installations of the Berlin and Vienna-based artist Harun Farocki, who explores the impact machines have on our perception and the images we have of ourselves, demonstrates that one’s own identity is always the product of social circumstances. All exhibitions have been developed especially for the Kunsthaus Bregenz and most works have been created for its specific spaces.
An important new aspect of the KUB’s programming will be the activation of the KUB Arena. This space is intended to feature interdisciplinary projects conceived in collaboration with architects, archives, and other culture producers. The first project is scheduled for the summer of 2010 and will be developed by the Berlin-based architectural collective raumlaborberlin.
With the ambitious landscape intervention Horizon Field by Antony Gormley the Kunsthaus will be continuing its cooperation with the British artist and setting new standards for its outdoor projects.
|
| |
| |
|
|
|
| |
|
|
|
| |
|
|
|
| |
|
|
|
| |
|
|
|
| |
|
|
|
| |
|
|
|
|
| |
|
|
|
| |
|
|
|
| |
|
|
|
| |
|
|
|
|
HARUN FAROCKI
Weiche Montagen/
Soft Montages
23 | 10 | 2010 – 09 | 01 | 2011
|
 |
|
| |
|
|
|
|
|
| |
|
|
|
| |
|
|
|
|
|
|
KUB Arena
A performance project
Ruth Buchanan I Simon Fujiwara
Suchan Kinoshita I Falke Pisano
Ian White
Kooperative für Darstellungspolitik
23 | 10 | 2010 – 09 | 01 | 2011
|
 |
|
| |
|
|
|
|
|
| |
|
|
|
| |
|
|
|
|
|
|
|
|
|
|
| ARCHITECTURE SERIES INTERDISCIPLINARY FORUM NETWORKING MODELS THE INTERNET WRITINGS ON THEORY CURATOR |
Since 2003 the six-meter-high, roughly 300-m2-large foyer of the Kunsthaus has been known as the KUB Arena. It was planned as a transition zone between the public space of the urban surroundings and the museum, a kind of connection joint between the visitors entering the building and the artwork presented on the three levels above it. It was a space intended for conveying art education, a space in which public discussions, guided tours, lectures, and film screenings could take place. Still, even though countless events of this kind have been held here, there is no concrete public awareness of what the KUB Arena actually is. We intend to expand and more precisely define the profile of the KUB Arena in the future. We aim at changing its image from being a space reserved for presenting contemporary art to one for exploring ideas of presentation and searching for experimental forms of representation. In the future, the KUB Arena will seek to examine the fundamental questions of contemporary art, e.g. issues of authorship, space, institutional critique, postcolonialism, and forms of curatorial practice. It will serve as a space for experimentation and investigation in which cultural and sociopolitical issues can be addressed in a context-oriented way. At the same time, an important focus will be on artistic activity that uses the social, urban, economic, or media-defined space by employing communicative and participatory strategies. more>>
|
|
|
| |
|
|
|
|
|
|
|
|
| |
CANDICE BREITZ
18 | 01 – 11 | 04 | 2010
RONI HORN
12 | 04 – 04 | 07 | 2010
COSIMA VON BONIN
05 | 07 – 03 | 10 | 2010
HARUN FAROCKI
04 | 10 | 2010 – 09 | 01 | 2011 |
Since the opening of the Kunsthaus Bregenz in the summer of 1997, the seven KUB Billboards, each measuring 342 x 342 cm and situated along the Seestraße in Bregenz, have been continuously used to display art projects created by Austrian and international artists specifically for this site.
Because of their location along one of the busiest streets that runs through the middle of town from the train station to the Kunsthaus, the KUB Billboards are among the most high-profile and widely discussed artistic interventions in the public space of Bregenz.
For the Kunsthaus Bregenz and the participating artists, the KUB Billboards are an important instrument for communicating with a wider public. The Billboards also reach people who tend to avoid or somehow never make it to the White Cube of the Kunsthaus. They introduce an extensive platform for discussion about contemporary art and current themes. The subjects of the Billboards have in the past repeatedly caused positive, but also controversial reactions in the form of letters to the editor in local newspapers or comments on Internet forums, in phone calls, public radio debates, and in round-table discussions at the Kunsthaus and continue to do so in the present.
In terms of programming, the KUB Billboards are designed in part by the artists of the exhibitions at the Kunsthaus Bregenz, who in this way also have the opportunity to communicate their work outside of the KUB, but there are also series of works by artists who have been invited specifically for this task. They are generally from Vorarlberg and have the chance to pose their current work as a subject of discussion at this prominent site.
The artists invited to contribute in 2010 are Candice Breitz, Roni Horn, Cosima von Bonin, and Harun Farocki. |
KUB-Billboards
1 Alexandra Vogt, 2009
2 Tony Oursler, 2009 |
|
|
|
|
|
|
|
|
