General – Seite 3 – Kunsthalle Lingen

14. Januar 202114. Januar 2021

SUSA TEMPLIN – FLOOR PLANS

Susa Templin (born 1965 in Hamburg, lives in Berlin) completed her liberal arts studies at the Hochschule der Künste in Berlin and the Staatliche Hochschule für bildende Künste, Städelschule in Frankfurt am Main between 1987 and 1993. She presented her artistic work in solo exhibitions at Fotogalleriet Malmö, Kunsthalle Mannheim, Berlinische Galerie, Museo de Arte in Lima and Museum Folkwang Essen, among others, and participated in group exhibitions at Kunsthalle in Nuremberg and DZ Bank Kunstsammlung in Frankfurt am Main, among others. Many museums and institutions own works by Susa Templin, for example the Museum Folkwang in Essen, the Kunsthalle Mannheim and the Berlinische Galerie, Museum für Moderne Kunst, Berlin.

Susa Templin works in the media of analog photography and photography-installation. In her artistic work, she deals with urban structures: in cities such as New York or Berlin, for example, she creates photographs that capture those places whose „builtness“ fascinates the artist, and finished drawings in which space is abstracted. In dealing with the limitations imposed by architecture, gardens and parks are also part of her interest. For Susa Templin they are like „fantasy space“ in the city, artificial landscape, constructed nature. From photographic image material she creates plastic models, in which she finally photographs again, so that proposals for the design of cities emerge and Susa Templin implements her imaginary designs for the transformation of urban space. From a technical point of view, Susa Templin’s photographs to this day are analog photography that is not post-processed in the computer.

A space-filling installation is to be created especially for the Kunsthalle Lingen, so that the actual two-dimensionality of the medium is expanded into a three-dimensional experience between photographs. The phenomenon of „space“ is also conveyed in terms of content in these images created especially for the exhibition, and an irritation reminiscent of a labyrinth is evoked. Against the background of our today’s often diffusely evolving space, within whose boundaries no longer run clearly, this work conveys a topical aspect.

2. Juni 202015. Januar 2021

Helga Fanderl – CONSTELLATIONS

12 May to 16 August 2020

The filmmaker Helga Fanderl was born in Ingolstadt and now lives in Berlin. She studied from 1987 to 1992 at the Hochschule für bildende Künste in Frankfurt am Main with Peter Kubelka and then at the Cooper Union School of Arts New York with Robert Breer. She presented her films at the International Short Film Festival in Oberhausen, and they are represented in the collections of the Museum of Modern Art in Frankfurt am Main and in the collection of the Centre Pompidou in Paris.

Plaster drawing, apple harvest, girls or carp swimming in colour – the titles of Helga Fanderl’s work, which has meanwhile grown to around 1000 films, literally refer to the respective motif, or rather: the event she filmed with her hand camera. She is interested in shaping her perception of found reality or her object, the figure at the moment of filming. The films are not reworked, but they characterize the immediate and direct aspects of the shot at the moment of the event and the cutting in the camera. The short sequences are created in a very physical way in a film language that can be compared to the images and gestures in drawing and painting. Helga Fanderl presents her films herself in changing programs; the film projection directly in the auditorium is part of the setting of her presentations, just like the whirring of the projection apparatus: Cinema in the original.

For the exhibition, Helga Fanderl is putting together a program of 16mm blowups of her original Super 8 films.

2. Juni 202015. Januar 2021

Bettina von Arnim – The cyborgs and their traces 1960 – 2020

12 May to 16 August 2020 From 12 May to 16 August 2020, Kunsthalle Lingen is presenting a retrospective solo exhibition entitled „The Cyborgs and their Traces“ by German-born artist Bettina von Arnim, who now lives in southwest France. In the 1960s, she studied in West Berlin at the Staatliche Hochschule für Bildende Künste and in Paris at the École des Beaux-Arts and with the graphic artist Johnny Friedländer. To this day Bettina von Arnim works primarily in the media of painting and graphic art. She presented her artistic work in solo exhibitions at the Kunstverein Augsburg, the Neuer Berliner Kunstverein and the Musée de Cahors, among others, and participated in group exhibitions at the Frankfurter Kunstverein and the Schirn Kunsthalle in Frankfurt am Main, among others. Today her works are represented in many renowned collections and museums such as the New National Gallery in Berlin, the Städel Museum in Frankfurt am Main, the Kunstmuseum Bonn and the Museum of the City of Gothenburg. The exhibition „The Cyborgs and their Traces“ includes paintings in oil on canvas and etchings from the years 1960 to 2020. In many of her works Bettina von Arnim reflects the theme „Man / Machine“ in an imaginative way. Against the background of the construction of the Berlin Wall in 1961, the moon landing and the arms race during the Cold War, the pictures reflect the theme of being enclosed in metal and suggest that the technical shell has replaced man. They tell of the destruction of nature, animals and plants by the technocrats. Especially since the 1990s with the invention of the Internet, we live in an increasingly digitally structured world. Cyborgs are mixtures of technology and humans that no longer exist only in ideas or visions of the future. We see denatured creatures in fantastic outfits, in costumes that provide insights into their inner workings: in labyrinthine computer chips. After the world of apparatuses and mechanized „living beings“, the artist designs „cultural landscapes“ that suggest incredible depth. We see stereometrically nested orders in which helpless giants lie. In the end, all that remains are the traces, the landscapes cut up by the „machine guys“, or a relief of letters stretching to the horizon. Although the pictures may seem amusing at first glance, their analytical sharpness is frightening.

11. Juni 201919. Januar 2021

Weltenanschauungen (Worldviews)

The exhibition in the cabinet of the Kunsthalle Lingen with the title „Weltenanschauungen“ will make the system theory of the Bielefeld sociologist Niklas Luhmann (1927 to 1998) haptically experienceable. The basic idea is to create a teaching exhibition on a high aesthetic level that brings the complex teachings of the social scientist closer. Niklas Luhmann’s core statements are, for example, „Social systems in principle distinguish themselves from their environment“, „The boundary of a system to the environment marks a complexity gap“ or „Social systems are nothing but communication“.

The aim of this exhibition is to present these core statements in the interplay of three exemplary social systems of our world in exchange with each other: Art, business and science. The complexity gap is mediated, for example, by a wall between the various systems, which initially prevents an unhindered exchange. How communication can nevertheless take place, how much of it reaches the other person, and how this shapes the view of each other, can be experienced in the installation.

The task of the audience is to recognize Luhmann’s thoughts.
The concrete goal is to depict an increasingly complex world divided up by work as a kind of three-dimensional and walk-in Venn diagram in a room.

The curators Prof. Dr. Till Albert (Professor for Corporate Management, University of Applied Sciences Osnabrück, Lingen) and Peter Lütje (Artist, Lingen) want to create an awareness for the fact that every human being delivers an effect to togetherness, even if not everyone can recognize this directly.

11. Juni 20192. Februar 2021

Stop talking, let’s play!

Zuzanna Czebatul, Angela Fette, Sina Folwaczny, Parastou Forouhar, Kalin Lindena, Mona Mahall / Asli Serbest, Anne Pöhlmann, Rebecca Ann Tess,
Anke Weyer, Adrian Williams

The phrase „Stop talking, let’s play“ comes from the character Billie Jean King from the 2017 film entitled „Battle of the Sexes“, she expresses it to her male opponent in the tennis game Bobby Riggs. The film is based on a true story and tells of the struggle for gender equality using the example of unequal prizes in tennis tournaments. Even today, women still earn less than men in many areas; in the art operating system, the art of female artists is offered on the art market for less money than that of male artists. Against this background, as well as with regard to the current #metoo debate, the group exhibition entitled „Schluss mit Reden, spielen wir!“ (Stop talking, let’s play) raises the question of whether feminist themes are still relevant in art today, or whether they have shifted to other aspects after the feminist revolution in the 1970s. Nine artists and the architects Mona Mahall and Asli Serbest were invited, whose works each convey a different attitude or strong position in relation to the medium in which they work and in relation to the theme to which their works each refer.
On view are a large object by Zuzanna Czebatul, a wall painting by Angela Fette, ceramics by Sina Folwaczny, photographs by Parastou Forouhar, pictures and objects by Kalin Lindena, photographs and a model by Mona Mahall and Asli Serbest, Fabric works by Anne Pöhlmann, photographs by Rebecca Ann Tess, pictures by Anke Weyer and a large grandstand by Adrian Williams, which is available for readings of a new text by her.

28. Februar 20192. Februar 2021

Studio Kramer

10 March to 12 May 2019

Water tower of the Kunsthalle

Opening on Friday, 09 March 2019 at 19 hrs

In 1970 the artist Harry Kramer (born 1925 in Lingen, died 1997 in Kassel) was appointed professor at the Kassel University of Fine Arts. Even sceptical about the question of whether art could be taught, he decided to give up his own production and to make and exhibit art together with his students in the future. On the other hand, the artist Kramer did not disappear completely in the educational province, but only shifted authorship from the previously sole to that of the collective under the name Atelier Kramer. „The renunciation of the signature is not due to a refusal of art, but to a refusal of the signature. In terms of content, the actions were jointly conceived and carried out.

The premise was that art was always radical, and the actions were carried out according to this premise,
existential traits. The gradual appropriation of all art production by the market on the one hand and a society tending towards conservatism on the other was reflected. In 1971, for example, Harry Kramer spent ten days bricking himself in at the Museum Fridericianum in Kassel, communicating only through bars with visitors.
The installation reacted even more extremely to the phenomenon of the surveillance state.
„1984 – Termite State.“ The concept: „In collaboration of artists, psychologists
and physicians, parts of a termite structure are transformed to human dimensions.
and inhabited by test subjects during an exhibition. This last major project
of the Atelier Kramer from 1978 was realized, but unfortunately it was not
publicly exhibited.

Documents and photographs from the time of Atelier Kramer are presented.

Curator of the exhibition is Heiner Schepers, former director of the Kunsthalle Lingen.

Translated with www.DeepL.com/Translator

1. Februar 20191. Februar 2019

NEL AERTS – The Snake Charmer

Nel Aerts (born 1987 in Antwerp, lives there) studied free art at the Royal Academy of Fine Arts in Gent. She presented her artistic work in solo exhibitions at the Museum M in Leuven, the Horizont Gallery in Budapest and the Kunsthalle Charlottenburg in Copenhagen, as well as in group exhibitions at the Muhka, Museum of Contemporary Art Antwerp, the Astrup Fearnley Museum in Oslo and the Aargauer Kunsthaus in Aarau.
Nel Aerts works in the fields of performance, painting and drawing – her works are characterized by many installative elements and figurative parts that make it possible to identify and trace fine human emotions in her works.
The art of Nel Aerts characterizes an intermedial and a (semi-)iconic handling of materials and media. She also observes how the artist’s position is misrepresented by the world. In her drawings, images that look like out-of-control woodcuts, performative videos and sculptural installations, she uses a mixture of tragedy, poetry, fiction, humour and art historical references to question how different media, artistic vocation and the world behave. Humour, loneliness, sadness, taboo, escapism, the journey, the boat trip, optimism, the mask/mask art – all these are elements that recur in her paintings, collages, sculptures and actions. At the same time, her practice and work also bear witness to a stubborn belief in the creative, material and mobile forces of contemporary art.
The exhibition at the Kunsthalle Lingen is being staged in close cooperation with the Westfälischer Kunstverein in Münster – both presentations complement each other in form and content and form the artist’s first institutional solo exhibition in Germany.
Opening at the Kunsthalle Lingen on Saturday, 09 March 2009 at 7 pm.
Opening at the Westfälischer Kunstverein Münster on Friday, 8 March 2019 at 7 pm.

Kindly supported by the Stiftung Niedersachsen, the Ministry of Science and Culture of Lower Saxony, the district of Emsland, the city of Lingen (Ems), and the Kulturstiftung Heinrich Kampmann

25. Januar 20192. Februar 2021

MELANIE BONAJO – PROGRESS VS. SUNSETS

A video work with an installation by the Dutch artist Melanie Bonajo (born 1978 in Heerlen (NL), lives in Amsterdam) is presented in the Kunsthalle’s cabinet. She studied free art at the Gerrit Rietveld Academy in Amsterdam. Melanie Bonajo has exhibited in solo exhibitions at the Frankfurter Kunstverein and the Bonnefantenmuseum in Maastricht and has participated in group exhibitions at the Tate Modern in London, the Stedelijk Museum in Amsterdam and the Biennale in Moscow.
Melanie Bonajo works in the media of film, installation and performance. She often presents her cinematic works in expansive installations, which she coordinates formally and in terms of content.

The film „Progress vs. Sunsets. Re-formulating the Nature Documentary“ shows how our relationship to nature has changed through the popularization of amateur nature photography and film on the Internet. This is shown through the eyes and voices of children, the next generation, who seem to easily recognize and address the complicated problems associated with animal rights, biopolitics, dwindling resources, ecology, anthropomorphism, in which nature is seen as the ultimate other, as a useful object outside ourselves, and the effects of this ethic on human desires, emotions, emotions, emotionality and sentimentality towards the „others“.

Opening on Friday, 09 March 2019 at 19 hrs.

Kindly supported by the Ministry of Science and Culture of Lower Saxony, the district of Emsland, the city of Lingen (Ems), and the Kulturstiftung Heinrich Kampmann

27. November 20182. Februar 2021

Kerstin Cmelka – The Animals

KERSTIN CMELKA – THE ANIMALS
Artistic feature film, 80 min, 2016

director: Kerstin Cmelka and Mario Mentrup idea, concept, screenplay: Kerstin Cmelka

Starring: Mario Mentrup, Marko Dyrlich, Kerstin Cmelka, Hanno Millesi, Marius Böhm

Cameo appearances: Claudia Basrawi, James Devereaux

Camera: Volker Sattel

Lighting: Mathias Becker

Editing: Matthias Semmler

Sound recording: Tom Schön

Sound mixing: Jochen Jezussek

Costume design: Kerstin Cmelka

Props: Manuel Gorkiewicz, Kerstin Cmelka Set photography, best man: Eric Bell

Music: Pasadena Project, Sally Tomato’s Animal Exercise Sponsored by the Federal Chancellery of Austria and the Province of Lower Austria.

Kerstin Cmelka (born 1974 in Mödling, Austria, lives in Berlin) studied fine arts and film at the Hochschule für Bildende Künste – Städelschule, Frankfurt am Main with Monika Schwitte, Thomas Bayrle and Simon Starling. Since 2000 she has presented her artistic and cinematic work in solo exhibitions at the Kunstverein Langenhagen and in group exhibitions at the Temporäre Kunsthalle Berlin or the conTeMporAry Art Gallery in Vancouver, among others. She has also participated in various film shows and festivals, including Internationale Kurzfilmtage Oberhausen; Viper, Basel; L‘ Alternativa, Barcelona; Clermont-Ferrand Short Film Festival; Ann Arbor, Michigan and the New York Underground Film Festival.

Kerstin Cmelka works primarily with video, photography and performance. Her work is often based on popular models from theater, art and film, which she adapts and restages. In 2016, she made her first longer feature film titled „The Animals,“ which is the focus of her exhibition in the Kunsthalle’s cabinet.

This film focuses on the development of the protagonist „Kerstin“, who, driven by the expectations of her coaches and playing partners, jumps through a wide variety of exercises and theoretical considerations, sometimes successfully, sometimes unsuccessfully, as if from one island to another, in order to be able to embody the main female character „Irena“ in the film „Cat People“ as an actress. In this respect, the question of the possibility of asserting female protagonists in a male-dominated film world is addressed, and furthermore the aspect of a possible double role play is negotiated.

Kategorie: General

SUSA TEMPLIN – FLOOR PLANS

Helga Fanderl – CONSTELLATIONS

Bettina von Arnim – The cyborgs and their traces 1960 – 2020

Weltenanschauungen (Worldviews)

Stop talking, let’s play!

Studio Kramer

Archive

NEL AERTS – The Snake Charmer

MELANIE BONAJO – PROGRESS VS. SUNSETS

Kerstin Cmelka – The Animals