dal 14/09/2017 al 08/04/2018

infoMonday  — Sunday 10 am — 8 pm  Thursday 10 am — 10 pm Day ticket 14 € / reduced 12 € Teenagers under 18 and pupils 5 € Children under 12 free

Sarah Sze (15.09.17 – 12.08.18)

For the fifth edition of Der Öffentlichkeit — Von den Freunden Haus der Kunst, American artist Sarah Sze will create Centrifuge, a new site-specific installation that will radically transform visitors’ perception and experience of the museum’s Middle Hall (the former Ehrenhalle). Sze’s diverse practice circulates around a range of analytical and spatial concerns, which involve the careful rearrangement of constructed and off-the-shelf objects into a series of sculptural groupings that cut across predetermined perceptual and cognitive categories. Inviting both micro and macro modes of viewing, her delicate constellation of objects, images and sketches deliberately disrupt one definite reading.

Sze has conceived an installation whose spatial agglomerations explode the perceptual field within the Middle Hall. Centrifuge commences from a fixed point and dynamically morphs outwards into the surrounding space; shifting in scale and density as its various components unravels. The series of trajectories created by the scattering concentrations of material across the space will create an intimate yet immersive environment informed by a changing sense of gravity, scale and time. At its centre, the various objects that encircle the nucleus of the installation will recall subatomic particles morphing and evolving within a quantum field, an implied kinesis which is counterbalanced by the nature of the sculpture’s overall form; an indeterminacy that in turn mimics the transmutation of cells and organisms within biological life.

As the artist notes, Centrifuge’s “interior sculpture will seem caught in an indeterminable state between growth and decay. As the visitor approaches the sculpture it will immerse them in a micro scale at its interior, while simultaneously gesturing to a macro scale as it projects into the larger space of the hall. The sculpture will function both as a site of activity, as well as a projector, illuminating the ceiling and giving the space the openness of a palazzo or city square”.

The work will emphasize the space’s potential as an arena of public interaction and engagement, opening up the building and acting as a magnet to draw viewers from different vectors. Spiralling out into the space with projected light, the installation will activate the surrounding architecture with flickering movement.

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Again and Again – Sammlung Goetz im Haus der Kunst (15.09.17 – 08.04.18)

Throughout the 1990s the loop, the technical device by which a shorter sequence of film or video is connected at the end and the beginning in order to create an infinite chain of repeating material, became an established trope in the field of the moving image. Again and Again looks at how loops and other non-temporal strategies such as multi-channel installation, split-screen, multiple perspectives, and experiments with seriality were posited as formal and spatial means to expand the narrative toolkit of digital video throughout the 1990s and 2000s. The exhibition takes this specific historical moment of development within the medium of the moving image as a prism to look at how notions of repetition influenced artistic examinations of the self.

The 1990s and 2000s were a battleground for the integrity of personal identity which was seemingly under attack from multiple trajectories. The rise of reality TV, webcam culture, and online portals such as Myspace offered a direct insight into formerly private realms of others. An increased awareness of surveillance technologies as well as a widespread concern about identity theft cast doubt upon individual sovereignty in the information age. Furthermore discussions around human cloning, genetic engineering, and biopolitics led to a fundamental re-evaluation of individual and cultural identity.

Again and Again presents a selection of works by artists such as Mark Leckey, Bjørn Melhus, Tracey Emin, and Brice Dellsperger which exhibit a fascination for the cleaved or reproduced subject. Whether it is the artist herself creating personal mythologies, or the characters within her fictional universes who are being fragmented and replicated, the works collectively probe the notion of selfhood at the turn of the twenty-first century.

Again and Again is curated by Daniel Milnes

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Kapsel 07: Oscar Murillo (15.09.17 – 18.03.18)

Within only a few years, Oscar Murillo has developed one of the most exciting contemporary artistic practices. While he primarily uses the medium of painting, he defies its conventions in a radical way: he integrates video and drawing, sculptural, installational and performative elements within his presentations, which are inherently intense, immediate and visceral. In Oscar Murillo’s installations, the viewer finds himself within an intelligent, highly aesthetic and simultaneously existential interplay dealing with the understanding of work and play, production and consumption, original and appropriation, center and periphery, as well as the relationship between material and transcendence. While a few years ago Oscar Murillo’s projects often bordered on social experiments, his latest installations are distinguished by a tentative exploration of space through gestures (in painting), and therefore by historical, economical, societal and philosophical associations. His expansive, extremely dense installations comprise heavy, partly torn and resewn canvases. Painted with black oil paint and draped on steel constructions that recall autopsy tables, or hung like laundry on clotheslines, they reorganize space. Scales hung from industrial hooks, akin to memento mori, conduct a taxonomy of measurement. A mix of clay and corn adds unwieldy sculptural touches, like vital signs. Floor, walls, the room itself and the intricacy of perspectives within it merge into a vibrant constellation, a metaphor for transformation itself. The joy, intensity, and fragility of life, with all its irreconcilable simultaneities, become visible, palpable.

The project Frequencies will also be realized during Oscar Murillo’s exhibition at Haus der Kunst. Frequencies is an ongoing collaborative project by the artist together with family members and the sociologist Clara Dublanc, as well as schools in diverse countries. Over the course of six months, canvases are stretched on school desks, encouraging schoolchildren to leave behind their traces, sketches and ideas.

Oscar Murillo was born 1986 in La Paila, Colombia, and lives and works in London and La Paila.

Capsule 07 is curated by Anna Schneider.

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Kapsel 08: Polina Kanis (15.09.17 – 18.03.18)

The capsule exhibitions at Haus der Kunst offer young, international emerging artists the opportunity to present new works in an institutional context. The fourth edition of the exhibition series pairs Colombian-born, London-based artist Oscar Murillo and Russian media artist Polina Kanis.

Polina Kanis (born 1985 in Leningrad, now Saint Petersburg) reconsiders the boundaries between film, photography and performance. Her videos are marked by a distinct tension between the scenario they depict and the world that lies beyond the frame. Kanis’ protagonists inhabit closed systems within which their behavior is reduced to automatized and ritualized actions by an invisible instance of authority. These microcosmic settings explore how a given framework – be it social, political, or cultural – can influence and distort its subjects, bringing about shifts and perversions in the relationships between them in an attempt to find one’s position within the collective.

Polina Kanis graduated from the Rodchenko Art School, Moscow, in 2011, the same year in which she was awarded the Kandinsky Prize in the category Best Young Artist for her video “Eggs” (2010). In 2016 Kanis received the Sergey Kuryokhin Award in the category Media Object for her film “The Pool” (2015). Her work has been featured in numerous solo and group exhibitions, including the parallel program of Manifesta 10, and the 2015 edition of the Ural Industrial Biennial of Contemporary Art. As of January 2017 Kanis is part of the residency program at the Rijksakademie van beeldende kunsten in Amsterdam.

Capsule 08 is curated by Daniel Milnes.

Image: Oscar Murillo, a futile mercantile disposition, 2016, oil and oil stick on canvas and linen, stainless steel, vinyl, latex, copper, PVC tubing, self-hardening clay with ground corn, and single channel video, Dimensions variable. Courtesy of David Zwirner, New York/London

Opening 14.09.17 from 19: 00

There is an opening party after the opening of the exhibitions, organized by House of Arts, Golden bar and Super paper super look with live act and DJ.