Due to Corona, this event will be held as a digital event via Zoom.

2:00 p.m.: Round Table with former and current exhibition supervisors.
Ca. 4:30 p.m.: Archive discussion with Adrian Djukic (Archive, Kunstverein München), Cora Piantoni (Artist, Munich/Zurich), Dr. Friederike Schuler (Archive, Kunstraum München), Hagen Verleger (Book Designer, Berlin)

The positioning, internal and external perception, atmosphere, and special highlights of the exhibition history of the Kunstraum München will be remembered, discussed, and classified. Many of the former exhibition supervisors are now active in diverse institutional contexts and will discuss the Kunstraum in retrospect and in comparison with other institutional forms.

In the subsequent archive discussion, the special features of an art association’s archive with its diversity of materials and challenges will be discussed from different perspectives. What are the specific tasks of the archive? How can an archive be communicated and made accessible? Which approaches can be pursued in book design, which in documentary-scientific contexts, and which in the context of artistic research?

Florian Wüst (Berlin)
»Sinus and Sawtooth – Electronic Music in Film and Video«

Industry, science, and art have always been close in terms of researching and applying new technologies. In this context, electronic music symbolizes modernity and future orientation: a technical music for a technical age. Using selected film examples, Florian Wüst describes the often ambivalent relationship between technical innovation, industrial mission, and artistic experimentation—from the
corporate films of the 1950s through early computer art to post-digital culture.

Shruti Rao und Abhishek Bommana (Bangalore)
»Left Swipe Left – Dating Apps in a Pandemic«

Changes in desire, romance, and intimacy through the use of internet technologies, particularly dating apps, are explored by Shruti Rao and Abhishek Bommana in their podcast project Left Swipe Left. As part of the Gothe Institute’s BangaloREsidency expanded, the artist duo are spending several weeks in Munich. Their artistic research, which takes the form of a non-fictional audio narrative, extends to a comparison of their native Bangalore and the city of Munich. The artists are currently looking for interview partners. In this workshop report, they give an insight into their work.

Performance: Sunday, October 10
In cooperation with VARIOUS OTHERS 2021

1:30 p.m. at the Monopteros in the English Garden
4:00 p.m. at the Isar in front of St. Maximilian Church
In the event of inclement weather, both concerts will take place at the Monopteros.

Please register by email.

The fourth edition of en plein air, a perfomance series in public space, is taking place between July and October 2021 in urban green areas, parks, and public streets. This year, three international artists have been invited to realize projects: Hans Schabus, Andrej Polukord, and Silvia Hell. Their work focuses on interactions with passers-by who are invited to join in and become part of the performances.

Wind Pressure Concert
For a diverse orchestra, audience, and fine dust particles

A project by Silvia Hell
In collaboration with Frida Split and Nicola Ratti and musicians from Embryo and the Express Brass Band

The »Wind Pressure Concert« in public space is a concert for a diverse orchestra, audience, and fine dust particles. In a kind of space-time short circuit, a composition is experimented with and experienced, the motif of which is the air.

In 2008, the European Parliament issued a directive for monitoring ambient air quality in its member states. The artist Silvia Hell decided to approach this document as if it were a song. Instead of reading it, she began singing it repeatedly as the blues. Her work deals with the rhythm of information as well as the possibility of song to transform an aspect of control into an emotional substance.

The score of the »Wind Pressure Concert« consists of the data on fine dust particles between the years 1980 – 2020, which Silvia Hell researched and collected from the public archives of two different cities: Munich and Milan. The data is divided into PM2.5 and PM10 (the most polluting particles in the air we breathe) and reflects the daily levels of pollution within that twenty-year span. The score branches out in a quantum effect, from the composers and musicians to passers-by who are also involved in the performance. From a visual, fact-based, linear score, a concert emerges that is guided into a precisely defined and structured cycle of interaction that partly arises from different types of improvisation.

Thus, three scores emerge that resonate with one another. All refer to the scientific data but also deviate from it to build momentum on different scales: a linear and progressive chronology fluctuates between chaos and cosmos. The concert is being directed by Frida Split, using the improvisational »Conduction« method, and being performed by individual members of Munich’s Express Brass Band. The musical coding system between conductor and musicians allows for a transcription of the score of the air by the conductor-composer. The interaction of the audience is guided by Nicola Ratti’s score, which includes suggestions for listening, spatial positioning, and sensory interface, i.e. acoustic and physical interaction with the help of their smartphones. The focus of the »Wind Pressure Concert’s« score is both the publication of the data on air quality as well as the penetration of an emotional substrate via music and participation.

Silvia Hell’s (Bozen, 1983) work takes the form of sculpture, photography, site-specific installations, digital processes, and interdisciplinary projects. Her work often deals with the analysis and processing of information and public data from various fields with the aim of conveying a spectrum of values ​​in a single aesthetic form through the clarity and simplicity of visual intuition. Hell completed her studies in painting at the Brera Academy in Milan. Her work has been featured in numerous exhibitions and events including: Triennale, Milan (2020); FuturDome, Milan (2020); Festival Transart19, Museion, Bolzano (2019); A+B Contemporary Art, Brescia (2018); Deutsche Bank, Frieze London; Kunstverein München (2017); Museum of Contemporary Art Rijeka; CCI Fabrika, Moscow (2016); Progettoborca, Dolomiti Contemporanee (2015); Museo d’Arte Contemporanea, Lissone (2014); Museo Pecci Milan (2013); Alert Studio, Bucharest; and Prague Biennale 5 (2012). http://silviahell.eu/

Nicola Ratti is a versatile musician and sound designer who has been working in various experimental fields for many years. His sound production involves systems that arise from repetition and expansion. Particularly important for him is the construction of environments that balance architectural space with emotional and perceptive orientation. Born in Milan in 1978, he has performed in Europe, North America, Russia, and Japan. Since 2006, his albums have been released on various international labels.

Frida Split is a researcher, educator, and instrumentalist. Born in Italy in 1979, she graduated with a degree in bassoon from the G. Rossini Conservatory, Pesaro, in 2014. She is currently studying with Maestro Marco di Bari in the composition course at the Piano Academy of Imola. She has collaborated with Chilly Gonzales in his Gonzervatory Project in Cologne (2019) and Paris (2018) as well as with Christian Scott at the Montreux Jazz Festival in 2019.

The concert is being recorded in audio-video (sound: Attila Faravelli).

We kindly thank »Casa degli Artisti« in Milan and Sclupet for their generous support.

A guest project of the Kunstraum München
In network mit »On Air« Carico Massimo

Curated by Emily Barsi

www.enpleinair.de

Im Rahmen von VARIOUS OTHERS 2021

EN PLEIN AIR 2021 is funded by the City of Munich Department of Arts and Culture and the Kunstraum München.

Musikalische Interventionen in der Ausstellung
in Kooperation mit der Hochschule für Musik und Theater München:
( 1 ) Samstag, 11.09., 15:00 und 15.30 (je 15 Min)
DG Kunstraum, Finkenstraße 4, 80333 München
( 2 ) Sonntag, 12.09., 15:00 und 15.30 (je 15 Min)
Kunstraum München, Holzstraße 10 Rgb., 80469 München

Open Art:
Freitag, 24.09., 18–21 Uhr
Samstag, 25.09., 11–18 Uhr
Sonntag, 26.09., 11–18 Uhr

Lange Nacht der Münchner Museen:
Samstag, 16.10., 18–1 Uhr

Finissage / Kuratorische Präsenz:
Sonntag, 24.10., 14–19 Uhr
Führungen um 14.30 und 17 Uhr

The word trauma comes from the Greek and generally means injury (τραῦμα). Its causes are wide-ranging and its manifestations can run the gamut from the blatant to the nearly imperceptible. In all cases, the effect of trauma on an individual is catastrophic. Since last year, the trauma of the pandemic has been added to the mix, summoning to the surface all that we thought was buried and forgotten. The participating artists present multifaceted work developed in response to the concept of trauma, whether as personally affected or silent observers.

The exhibition is a cooperation with the DG Kunstraum and is curated by Denise Parizek (12-14 contemporary, Vienna), Nina Holm (Kunstraum Munich) and Benita Meißner (DG Kunstraum).

The exhibition in the DG Kunstraum opens Thursday, Sept. 9 with works by Guadalupe Aldrete, Jutta Burkhardt, Ben Goossens, Hubert Hasler, Monika Huber, Oh Seok Kwon, Minjae Lee, Boris Maximowitz, Jelena Micic, and Fumie Ogura.

»τραῦμα. Der Körper vergisst nicht« is part of a traveling exhibition launched by curators Luciana Esqueda and Denise Parizek in 2019.

The exhibition at the Kunstraum München is supported by the Austrian Cultural Forum Berlin and the GLS Treuhand.

The fourth edition of en plein air, a perfomance series in public space, is taking place between July and October 2021 in urban green areas, parks, and public streets. This year, three international artists have been invited to realize projects: Hans Schabus, Andrej Polukord, and Silvia Hell. Their work focuses on interactions with passers-by who are invited to join in and become part of the performance.

Andrej Polukord

Galerie Uberall
Misunderstanding II

Gallery Uberall is a mobile gallery founded in 2014 by Andrej Polukord and his assistant Mario Strk. It has been shown internationally at the viennacontemporary 2015, documenta 14, Hofstallungen mumok, and Startup Fair Lithuania, among others.

With an extraordinary vision to promote art in our daily lives and make many talented artists accessible, Gallery Uberall offers an impressive
collection of artworks by local, international, and Old Masters.

Under the direction of Andrej Polukord and his artist friend Mario Strk, the gallery provides an expanded space that offers art to collectors, artists, and the public. The gallery is a fully functional event space that offers a unique environment and opportunity to bring art to a wider and more diverse audience. At the same time, it raises many questions about market and value.

As Andrej Polukord moves his gallery from destination to destination, the relationships between contemporary art, its institutions, galleries, and people in the public space are called into question.

As Polukord himself says, »As the world becomes more interconnected and maintains greater distances between people, we wake up every day with another update or new offer that we may not even be able to verify but must accept in order to adapt and move forward.«

Andrej Polukord (Vilnius, Lithuania, 1990) lives in Vilnius and Vienna. He works in painting, installation, performance, photography, and video art. Themes of everyday life, ecology, and the ethical relationship between humans and nature are often revealed in his work through humor, adventure, and storytelling. Polukord’s work creates unpredictable environments and absurd situations that generate double meaning and ambiguity.

The performance is taking place within the framework of VARIOUS OTHERS 2021 as well as the Lithuanian Year of Culture »Without Distance: Lithuanian Culture in Bavaria 2021.«

A guest project of the Kunstraum München.

Curated by Emily Barsi

EN PLEIN AIR 2021 is funded by the City of Munich Department of Arts and Culture, The Lithuanian Culture Institute, and the Kunstraum München.

In her site-specific works, Paula Leal Olloqui orients herself to existing spatial structures and attempts to take a position in response to them. Her sculptures, installations, texts, and publications come into contact with the context that surrounds them, which they attempt to trace, sound out, expand upon, understand, reflect on, and sometimes even break.

Paula Leal Olloqui was born in Madrid in 1984 and studied sculpture at the Universidad Complutense de Madrid and at the Academy of Fine Arts Munich in the classes of Prof. Pitz and Prof. Metzel, whose master student she became in 2015. That same year, she also received the Debutant Award from the Academy of Fine Arts Munich. In 2020, she was honored with the Bavarian Art Sponsorship Award and in 2021 a work stipend from the Stiftung Kunstfonds in Bonn.

As part of the Kunstraum München’s summer studio, Paula Leal Olloqui is developing a journalistic format on site that will explore the former and current locations of the exhibition house.

A presentation of the artist’s site-specific exploration will be on view on August 28, starting at 4:00 p.m. At 6:00 p.m., curator Lena von Geyso will speak with Paula Leal Olloqui about her sculptural working concept.

The project is made possible with the support of the Stiftung Kunstfonds, Neustart Kultur, and the Steiner Stiftung München.

The fourth edition of en plein air, a perfomance series in public space, is taking place between July and October 2021 in urban green areas, parks, and public streets. This year, three international artists have been invited to realize projects: Hans Schabus, Andrej Polukord, and Silvia Hell. Their work focuses on interactions with passers-by who are invited to join in and become part of the performance.

Hans Schabus
Auf der Suche nach der endlosen Säule (Drei Koffer)
2021

Since his trip through Romania in early 2000, Hans Schabus has been looking for the endless column. He has dedicated various projects that deal with the motif of movement to this search.

The title refers to a sculpture that Constantin Brancusi erected in 1937 in the Carpathian foothills in Targu jiu, which is part of a World War I memorial.

The column stands still, yet its title points far beyond. For Schabus, it functions as a leitmotif for movement and for overcoming the measurable—an endless assertion of a neverending search. The column stands for progress and moving on, for leaving a place and for being on the way.

Hans Schabus is traveling to Munich by train—from where, we don’t know exactly. He is bringing three suitcases with him—suitcases that he first used in 1998 for the performative film 100 running meters.

Using one hand, he carries the three suitcases, one after the other, down the street. Leave the train station, put down a suitcase. Go back, pick up another, and carry it to the front. Go back to move forward. Constantly. With all suitcases in sight. This back and forth movement dynamizes the route. It’s five times as long.

Like a musical score, Hans Schabus carries his notes into position, keeps them constantly in motion. The suitcases show each other the direction. They seem to be left alone on the side of the road, waiting for their turn. They are characterized by the need to be carried. The suitcases are wrapped in foil, obscuring the fact that they are locked. The private rubs against the public membrane.

The route runs along the Sonnenstrasse to the south, where a provisional destination is located in at the Kunstraum München in the Holzstrasse. Overnight, the suitcases will form a group there and then be pulled apart and carried back to the train station the next day to continue a journey that never ends.

Hans Schabus was born 1970 in Watschig, Austria, and lives in Vienna. From 1991 to 1996, he studied sculpture with Bruno
Gironcoli at the Academy of Fine Arts Vienna. Since 2012, he has taught at the University of Applied Arts where he heads the Department of Sculpture and Space.

Hans Schabus has exhibited his work nationally and internationally since 1992. He gained international renown for his design of
the Austrian Pavilion at the 40th Biennale di Venezia in 2005.

A guest project of the Kunstraum München.

Curated by Emily Barsi

EN PLEIN AIR 2021 is funded by the City of Munich Department of Arts and Culture and the Kunstraum München.

In silverpoint and charcoal drawings as well as reductively colored watercolors on paper and canvas, the draftsman and painter Thomas Cena captures city peripheries, urban underbrush, and ruderal areas in which forgotten and decaying architectural fragments, uncultivated agricultural landscapes, or reclaimed flora shift into focus. His appropriation and appreciation of the seemingly mundane scenery of his immediate surroundings, which nature is attempting to overtake, first take shape photographically before becoming drawings whose relatively uniform and planar crosshatching dapples and blurs them into a contradictory state of contemporary timelessness. In new works at the Kunstraum, Cena depicts thickets and undergrowth, silt-filled ponds, and overgrown clearings—quasi-remnants or nature-like quotations that, despite their urban background noise, can be transformed into elegiac places.

Born in Katowice (Poland) in 1970, the artist studied painting at the Braunschweig University of Art (HBK). After receiving a DAAD scholarship to Japan and two painting scholarships in Stuhr and Northeim, Cena taught the fundamentals of painting at his former university until 2015. He lives and works in Hanover and teaches art at an academic high school.

Curated by Alexander Steig

A series of 8 drawings produced exclusively for the Kunstraum (gold pencil on handmade paper, 12.5 x17.5 cm) will be available for purchase at a subscription price during the exhibition.

The exhibition is made possible with the support of Finbridge GmbH & Co KG.

Ein von der Künstlerin vor Ort produzierter Clip gibt Einblicke in die aktuelle Präsentation im Kunstraum. Unterlegt mit Auszügen aus einem Gespräche der Künstlerin Astrid Busch mit der Kuratorin Dr. Patricia Drück.

www.vimeo.com/buschastrid

Zur Ausstellung ist eine Edition erschienen.

Bei der Finissage wird ein neues Künstlerbuch der Künstlerin vorgestellt:

Astrid Busch
LE HAVRE
BRASILIA
MEZAMOR
WOLFSBURG

Fantôme Verlag, Berlin, 2021
160 S., 24 x 17 cm
Text deutsch/englisch: Stephan Erdmann
Grafiker: Andreas Koch
Auflage 500
ISBN 978-3-940999-52-8
Preis: €19,90

Gefördert von der Kunststiftung NRW.

Astrid Busch (b. 1968) focuses on the reciprocal relationships between photography, video, and projection into space within the context of site-specific interventions. Analogue and digital techniques interact in her work and the city - as a space affected by continual processes of movement and change - experiences an artistic transformation in her multimedia stagings.

For the Kunstraum München, she has developed installations based on the manner in which space and architecture are dealt with in the planned cities of Metsamor (Armenia, circa 1969) and Brasilia (Brazil, circa 1960). She draws on the light conditions, soundscapes, and materialities found at each of these locations to create scenarios that thematize the character of a place, while at the same time forming a new one.

She overwrites historical images and found objects collected on site with her own photographic work. In this way, the atmosphere produced by the traces of use and history of these materials is interwoven with current images and projections.

Utopian spaces, ideal cities, and real urban planning intertwine to reveal the interplay between vision and reality, achievement and failure.

Astrid Busch studied at the Academy of Fine Arts Nuremberg and the Weissensee Academy of Art in Berlin. She is a master student of Katharina Grosse and has received numerous international scholarships and grants. Her work can be seen in national and international exhibitions. She lives and works in Berlin and Düsseldorf.

Curated by Patricia Drück

The exhibition is made possible with the support of the Erwin und Gisela von Steiner Foundation.