sechs minus

10 February to 20 May 2012

This exhibition, the sixth in the series, brings to an end the two-year cooperation with the Academy of Media Arts in Cologne and the -1/ Minus Eins experimental media lab initiated there by Professor Mischa Kuball. Presenting works by twenty artists, it is the first Echo Room exhibition to include two live performances, both of which engage directly with the Art and Exhibition Hall:

In her work Beamer Walk Vera Drebusch explores the building of the Art and Exhibition Hall and its surroundings with a powerful beam of light. The artist quite literally highlights architecture and surfaces and their place in the urban fabric.
In her performance MI2 (Mission Impossible 2) Evamaria Schaller knots a rope around the 16 steel columns symbolising the federal states and tries to pull them out of their sockets.
Alexander Basile invites viewers on a different kind of walk. His film accompanies a young woman on a train journey from Cologne to Bonn, ending at the ice rink in front of the Art and Exhibition Hall. Emerging Sculpture #4 probes the threshold between document and fiction and reflects the process that transforms photography into a moving picture.
Changje Hong’s works View the scenes # 668 Space Itself and View the scenes # 680 Space Itself explore the nature of photography and the representation of reality. The artist takes pictures of rooms that are so brightly lit as to morph into a kind of still life in which an illusory transformation is taking place.
Echoing the cooperation and the hosting institution, Michael Schmitt’s work Bundeskunsthalle 2012 takes the viewer on a filmed tour of the other exhibitions running concurrently at the Art and Exhibition Hall.
Allan Gretzki’s ABC Pixacao, a highly personal take on Brazilian graffiti, is displayed on the soaring wall of the stairwell connecting the Echo Room to the floors above and gives visitors an opportunity to participate in the creation of the work.
Like Allan Gretzki, Carolina Redondo returns to a space she is familiar with from an earlier exhibition. Her work in the passage to the Studio heightens the awareness of the physical limits and architectural properties of this interstitial space.
The permanent motion of Christoph Kilian’s kinetic sculpture Marcel in the Pyramid Room has an effect on the perception of space. The title of the work references the celebrated mime artist Marcel Marceau whose creative practice was similarly concerned with a sense of space and energy.
A more tangible architectural intervention is Johannes Jensen’s work Wohnklo (Live-in Loo), in the men’s toilets.
Nicolas Pelzer’s installation Private Cinema in the Forum of the Art and Exhibition Hall transforms public space into a private realm. Made up of images found on the Internet and 3D objects, his animation deals with private cinema spaces and living rooms kitted out with the latest home entertainment gadgets.
Cologne’s post-war architecture is the subject of Nico Joana Weber’s film Portrait and the related drawings Post-War Composition, abstracted formal reflections on the graphic elements that mark the facades and interior spaces in Cologne’s urban landscape.
Lena Ditte Nissen, on the other hand, presents an urban dystopia. Put together from images that look as though they were shot with surveillance cameras, her video work Nearby shows anonymous figures going about their business in public space. Architectural and social structures become one.
In Clea Stracke and Verena Seibt’s film Und das Schiff fährt (And the Ship sails), the extension building of the Munich Academy of Fine Arts, built by Coop Himmelb(l)au and inaugurated in 2005, is transformed into a ship at sea – a poignant metaphor for art and its institution.
Verena Friedrich has been intrigued by the interface of art and life sciences for many years. Cellular Performance – Microcontact Prints shows silicone stamps with microscopically small text fragment that are based on a collection of terms lifted from the advertising language of care products and cosmetics industry.
Innerspace Odissey deals with the interplay between research and technology. Elisa Balmaceda takes a closer look at popular 19th-century pseudo science that sought to harness technological advances to the investigation of the soul and the mind. At the time scientists developed a machine that could purportedly capture thoughts and dreams on a photographic plate without the use of a camera.
The computer seems to have developed a life of its own in Jan Goldfuß’s work EnTroPI, a series of 3D animations which address the digital aesthetic and the medium itself. The artist perceives the computer as an equal and autonomous partner in the creative process, only setting the parameters within which it will generate form.  EnTroPI brings to mind the surrealist fascination with écriture automatique and could be read as an investigation of the subconscious mind of the machine.
In Landscape with Dust and Dinosaur Julia Weißenberg films and projects water on different surfaces. Their strangely altered, unfamiliar appearance evokes a poetic new landscape.
Mia Boysen created a smell for the ECHO ROOM – an invisible work with a subliminal presence that works on the subconscious, evoking new associations and emotions.
Heidi Pfohl’s photographic work ASN (analogue social network) illustrates the magnitude of digital networks by depicting an analogue social network – scraps of paper with the handwritten telephone numbers of friends and friends of friends – in a staged space.

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  1. Image from ExhibitionPhoto: David Ertl © Kunst- und Ausstellungshalle der Bundesrepublik Deutschland GmbH

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland

Museumsmeile Bonn
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