Daniel García Andújar
Opening: Friday 21 September 2018 - 19:00
Daniel García Andújar (1966, Spain) is a central figure in the Spanish internet art scene. Since the late 80s he has been starting up internet projects, he is a founding member of the irational.org web collective, and developed Technologies To The People® (TTTP), a non-profit organization that provides people who lack the means with access to new technologies. These collectives hack and appropriate material from contemporary culture with the aim of revealing the often problematic politics or absurd logic of the internet. With open source and collective methods of production, they undermine the notion of material or intellectual property, or the newly acquired power of digital technology.
In a next phase, Andújar looks for ways to take these issues from their virtual server environments and translate them to posters, slideshows, sculptures, publications or interventions in public space. For his solo show at KIOSK, titled Plus ultra, he will bring several stories together in one of these multi-media installations. One topic he focuses on is a bit of shared history: Emperor Charles V, born in Ghent in 1500 and crowned King of Spain at age sixteen. It was Charles V who gave Spain its motto Plus ultra (Latin for ‘further beyond’). Andújar follows the emperor’s lead to historical moments of public display of power in Ghent, to frame these from his own perspective.
With the support of the Spanish Embassy in Belgium.
Opening: Saturday 21 April 2018 - 20:00
Falling, lovely and beautiful
Falling, lovely and beautiful is a new set of works by the French-Morrocan artist Latifa Echakhch (1974, living in Martigny, Switzerland) presented in KIOSK. An installation involving bronze bells, a performative video and a series of drawings in ink. For these works, the objects or texts have been stripped of their original meanings and contexts in order to make new interpretations possible. This method is typical for Echakhch's art practice. Driven by the necessity to counter certain prejudices, contradictions and stereotypes in our society, she isolates and questions materials that are symbolic for these phenomena. By giving them a new setting or a different space, new meanings or unexpected characteristics may arise.
Eckakhch appropriates, dismantles and re-represents daily materials and simple objects. Personal memories as well as shared history and cultural heritage like literature, philosophy and music serve as her sources. Her practice repeatedly questions preset notions about identity, nationality, religion and authenticity. She also examines her own fragmented, symbolically charged culture, using a language that is at the same time sensitive and powerful. Politics and poetry come together in installations and environments built up out of personal, historical and cultural references.
All this applies to the exposition Falling, lovely and beautiful as well, with the title freely referring to the Nick Cave song As I sat sadly by her side.
The monumental shattered bronze bells under the central dome, are exact replicas of the church bells from the destroyed church Lübeck, a German city bombed in 1942. While the church is now fully restored, the bells are left lying exactly where they hit the ground at the time.
While the pieces of fallen bells emphasise silence in terms of stilled notes or muted violence, in the side room piano notes resound amidst huge noise. For this video, Echakhch simultaneously evokes an act of creation and destruction by making someone play the piano while, at the same time, someone else splits the instrument to pieces with a sledgehammer.
In a similar way, Echakhch's series of ink drawings deconstructs Arabic poetry. On sheets of newspaper she ‘transcribed’ the original texts, but only copying the punctuation or vowels. Traditionally and linguistically though in Arabic poetry, exactly these 'auxiliary signs' essentially define the meaning for the whole sentence or the poem. Here, the sheets of newspaper are largely left blank, the signs as mere unreadable connotations. The text, in other words, becomes an abstract drawing, bearing within it the possibility of a whole new reading.
The exhibition is realized with the support of the Swiss Arts Council Pro Helvetia.
Opening: Friday 16 February 2018 - 20:00
Film maker and installation artist Nida Sinnokrot (1971, USA) presents a series of sculptural and cinematic installations in the KIOSK rooms. Some of the works on display are new, others were reinterpreted for this particular context, but all of them speak of the history, representation or political potential of ‘machines’, like photographic or cinematographic devices. Brought together in a single exhibition space under the title Exquisite Rotation, they will combine into a new, synchronized gesture.
The works in the show shed light on a different way of looking in which the linear time and fixed perspective that we associate with the traditional big screen, the photographic lens or the projection screen are disrupted. Sinnokrot aims to transcend the mechanisms of mass media such as photography and film, countering them with an array of new, critical narrative strategies. One of these is his recurrent attempt to capture several layers of implicit meaning in a single powerful, abstract image or poetic experience.
His camera functions as a tool to speak about his native country, displacement and the relation between technology and colonialism. In this sense, his desire to liberate the cinematic machine as we know it, is also an expression of his own hybrid identity. Sinnokrot is currently based in Jerusalem but, as the son of Palestinian parents, he spent his childhood in Algeria and moved to the United States as a teenager.
The exhibition is focused around a central installation in the dome room where moving images are projected horizontally instead of vertically, and the projection speed is determined by the interaction with the viewers. With each step, the film registers scratches, starting an irreversible process of deterioration. Sinnokrot describes this ‘horizontal cinema’ as a tool to address the material reality of violence and its mediation, manipulation and circulation: “This violence is reflected in the machine itself and the relationship between trauma and perception is materialized in its clash of technologies and systems. It’s cinema and war. It’s the experience of dispossessed and displaced peoples.”
The exhibition is organized within the framework of Under Construction Festival in Ghent and Ramallah.
Opening: Friday 1 December 2017 - 20:00
Fragments, Particles and the Mechanisms of Growth
Nazgol Ansarinia presents the exhibition Fragments, Particles and the Mechanisms of Growth at KIOSK. Through drawings, collages, sculptures, murals and works in textile, Iranian artist Nazgol Ansarinia draws a portrait of everyday life in her native city of Tehran, and of her own position within that context. She grows along with a city that now counts almost 14 million residents and whose face is rapidly changing. As capitalism’s sway over contemporary Iranian society grows ever more pervasive, there is housing shortage, the real estate market booms, houses make way for towering new apartment buildings and shopping malls, which results in a vicious paradoxical cycle of construction and deconstruction.
Each individual is a link in this process of ‘growth’ and is, like the city itself, subject to certain underlying codes and dynamics. It is the tension between her personal experience and public, regulated life in Tehran that always surfaces in Ansarinia’s work: “I have so many layers of memory from each corner of this city. Every part of this city is associated with memories from different stages in my life. I think that’s what makes this fast speed of construction so destructive in a way. It’s taking away our collective memory and individual memory with it. Neighbourhoods are changing so fast that they are unrecognizable. You feel lost when you can’t relate to a space.” (from “The Artist and their City”, The Guardian / Tate, 2016).
The artist turns a social system, an urban development or set of rules inside-out, dissects and interrogates them in order to reveal a collective consciousness or feeling in their reconstruction. In her exhibition at KIOSK, for instance, she films and analyses the demolition of a building in Tehran and incorporates the ‘traces’ of the process as video and sculpture. The video work Fragment 1, Demolishing buildings, buying waste registers how the building was torn down with shovel and pickaxe in 16 days. It is an attempt to capture the moment in between demolition and creation, and it illustrates the notion that for each new building there is an equal amount of material that is being shoved aside.
The rubble that is carried away in the video is symbolically reinstated as a new building brick at KIOSK. The rubble is laid open, sorted and reconstructed into new plaster and ceramic sculptures. Alongside these, the artist also presents a series of collages in which she weaves together articles on politics or economics from different Iranian newspapers into mosaics. The connecting thread that runs through all works in the show can be summed up with Ansarinia’s underlying thought that “I’m a deconstructionist who reconstructs the torn apart elements that show something new about something so banal that has gone unnoticed, so repetitive that it became part of routine life.” This is her way to get a handle on the innumerable mechanisms of growth that currently define this city, and to give them form.