|INSTRUMENTS FOR THE ONE WHO DANCES WITH JIGGLING BRASS|
|Commoning refers to social practices that see themselves as self-organized, equal and needs-oriented cooperation. All those involved contribute their experience and skills and decide together how and to what extent resources are used. It is jointly agreed how to produce, manage, maintain or use.|
Paradise - apple juice from the garden
Hugo Cocktail - with elder flower syrup made from the garden
Birsmurmle - filtered river water
Mermaid's delight - ice pop with filtered river water and honey from the bees
|BLUE GOLD |
|Ìsàlè Èkó - The message never sees the light of day, but is understood|
A shallow grave was dug for the recording instruments to lie in.
Dirt heaped on top, the dirt blocked out the sunlight, the sound of
beneath grows louder.
Submerged, shards of lighter higher sounds filtering through the
topsoil like young stalks breaking through the soil seeking the face
of the sun to grow. Life and death.
The intensity of the pressure of being underground is then compounded
by layering the sub harmonics of the composition with some tube valve
warmth to emulate the heat of the earth,
All the energy lies in the sub, the reach of a sub harmonic wavelength
is long, the message is carried further underground, like a network of
The message never see the light of day, but is understood.
by Leke "CHiFY" Awoayinka
|A world where violence, foreign domination and profit prevail and our relationship to the earth, or how it is used and abused, is seen by the artist as synonymous with how bodies and their emotional “landscapes” are dealt with. The more resources, including copper—without which our contemporary digital world is inconceivable—are mined, the more the search for or connection to inner resources seems relevant.|
These various themes and their associated stories are not necessarily addressed directly in the exhibition or reproduced. Rather, they are kept present through the materials enlisted, by relating to their origin, their use, their historical relevance, their development and the trade routes that have shaped our society very physically over time.
The artist creates a space, in a certain sense a “third space”, in which a larger spectrum of stories and their complex interrelations with matter, material and their transformation and relationship to people can be experienced, and other perspectives made possible. From the materials and plants that are addressed, she extracts, in a way, the essence of their inherent energies and logics, makes them physically perceptible and thus ultimately also calls upon their nourishing properties.
Text by Nikola Dietrich
|INSTEAD OF LONGING|
|SUSNNE WENGER DIARIES|
|MEMOIRES OF A SEER: |
Composition and voice by Jumoke Adeyanju aka mokeyanju, 9:15min
Poetry (German Original): Susanne Wenger
Poetry (English / Yorùbá Original): Jumoke Adeyanju
Sample von: Jack Mensah
|A PERSONAL AFFAIR. DIGGING TO REMEMBER FORWARD. PART TWO.|
As in the Lagos Biennale installation, the work deals with the history of the Union Trading Company (UTC) that was established in 1928, and has it’s roots in the Basler Mission, which has been operating since 1854 in Ghana.
The UTC was one of the most important colonial trading companies of the 19th and 20th centuries. In the beginning the company exported cocoa, palm oil and cotton. Later on they traded in vehicles, textiles, tools, machinery, and much more. It also ran large, elegant department stores in Accra and Lagos and its Swiss staff imported and disseminated know-how.
This piece is the second chapter of the installation. It was specially developed for the Swiss Art Awards competition that took place in the fair hall 3 in Basel. This hall was built in the 1934 and hosted the first trade fairs in Switzerland.
All the elements used for the installation belonged once to the UTC. The preoccupation with the company is a personal affair in the regard, that they traded also with Oris watches, a former family business.
|In this exhibition Dunja Herzog explored the notion of|
living in a world that we do not fully understand, where
things are lost in translation and we experience our own
vulnerability. Herzog likes to create environments made
of everyday junk. Sometimes they are the home
landscape of some indefinable entities whose nature and
function remain unclear. Climbing and trailing vines and
the flickering of disco LED lights create a sensorial
energising vibe at 1646. This world breathes the
atmosphere of the bustling jungle combined with the
rubbish of the urban environment, familiar and strange,
like a parallel world with a logic of its own.
The invitation to participate in Attempts to Read the World
(Differently) offered an opportunity for Dunja Herzog to
connect to the work of the Austrian born artist and Yoruba
priestess Susanne Wenger (1915-2009). Wenger devoted
most of her life to the preservation, revival, and promotion
of the cultural heritage of the Yoruba culture in Nigeria.
She worked together with other artists on the restoration
of Yoruba shrines in the forest groves where the shrines,
nature and her own sculptures all became part of this
sacred environment. The fusion of art and religion is at the
core ofWenger’s art and she saw it as her purpose to protect
the sacredness of nature. Still using a modernist mode of art
construction for her reinventions in Yoruba tradition, Wenger
merged her holistic worldview into her ‘archisculpture’,
which she no longer regarded as autonomous sculpture but
as a translation of the messages of the Yoruba deities.
For Dunja Herzog, Wenger functions as a mediator offering
a different perspective through which to read global
developments and the history of art. Wenger offers Herzog
a way out of thinking in binary oppositions of self and other,
opting for the contagious travel of ideas and thoughts, and
accepting that what is lost and gained in translation.
|IT'S BETTER TO STAY ANGRY|
|The recognizable every day objects are bringing|
the reality of things into the exhibition space. They
are carrying little stories of their, from human defined,
functions and give the impression to be animated or
placeholders of our world. In their fragility there is
an insecurity that seems not only to be physical but
also emotional. The balance, in wich they are held,
threatens to get lost anytime.
|It belongs to us a little less than we belong to it|
|The Industrial age and modern life concentrated in cities|
have brought a surplus production of objects in their
wake. We are surrounded and swamped with objects,
tools, prostheses, more than in any other time in history.
Functional objects, everyday objects, disposable things.
What is the value of all this for contemporary occidental
society? What are the true functions of these things?
What needs do they satisfy? How do they influence our
everyday life? After a research that has led her to cross
various cultures from the African Continent for many
years, Dunja Herzog plunges back into the occidental
world, assuming the viewpoint of things. She reassembles
materials, mostly found by the wayside and in
domestic places, and like a modern teller of fables she
grants them a new existence. This exhibition is a world
of creatures that we could define as hybrids – for lack
of a more precise word – apparently fragile, without
definite purpose, maybe useless, with no fixed abode
and made of the refuse of our everyday existence. If
anyone is willing to pay attention, they can come to
life, and also speak. Usually, as in the case of Kafka’s
Odradek, the conversation ends in laughter – but it is
only the kind of laughter that has no lungs behind it. It
sounds rather like the rustling of fallen leaves.
Will anyone point out that the emperor has
no clothes? Text by Salvatore Lacagnina
|LAUGHTER IS USUALLY THE END OF THE CONVERSATION|
|THE MASTER‘S TOOL WILL NEVER DISMANTLE THE MASTER‘S HOUSE|
|The work REGARDING PAIN unites a collection of titles|
from Goyas Los Desastres de la Guerra from 1810–20
with the title of one of the most important theoretical
standard works about war photography, Regarding
the Pain of Others by Susan Sontag. The 36-part
series is explored through two overlapping printed
coinages. The empty space symbolizes the smallest
size of a photograph (9 × 13 cm) and the other shows
the quotations of the titles. Text by Sabine Schaschel
|That cannot be seen|
He deserved it
All is in confusion
Against the common good
They do not want to
They don’t know the way
With reason, or without
And it can’t be helped
There is no more time
No one knows why
This is what you were born for
This is bad
They are still of use
Of no use to cry
The worst is to beg
I saw it
The same elsewhere
So much and even more
Will she rise again?
Of what use is a cup?
This is the worst
They avail themselves
They do not agree
The cats pantomime
And they are wild beasts
Nothing. We shall see