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Yours, KOW

Approximation In The Digital Age To A Humanity Condemned To Disappear

, Mario Pfeifer

May 2 – Jun 25, 2015

DeutschEnglish

Techno music plays at the far end of the earth. Squid gyrate to a strobe light, the crab industry runs like clockwork, and real men earn their peers’ respect when their fish traps are full. The sunrise is as breathtaking in Patagonia as it is in the Panoramabar in Berlin’s Berghain nightclub.

Am Ende der Welt läuft Techno. Tintenfische drehen sich im Stroboskoplicht, die Meeresspinnenindustrie tickt wie ein Schweizer Uhrwerk und echte Männer gelten was, wenn ihnen der Fang in die Reuse geht. Der Sonnenaufgang ist in Patagonien so atemberaubend wie in der Panoramabar im Berghain.

Using luscious colors, rousing rhythms, and meticulously paced cuts and transitions, Mario Pfeifer’s "Approximation", a three-channel video installation, caters to contemporary aesthetic preferences with brilliant images shot using high-resolution 4K technology. The footage was captured at the outer margin of the inhabited earth, a place where people sometimes fall over the edge and disappear. This time it is Tierra del Fuego’s natives who may or may not still exist. Pfeifer captured them on camera – or did he? What the three projections in KOW’s basement gallery show is not a documentary, but a way of seeing. The exhibition presents a new perspective on one of the planet’s most ancient and remote indigenous people: the Yaghan, who are in the process of dying out.

Formerly aquatic nomads, the Yaghan first settled the southernmost tip of South America thousands of years ago; most of them now live in Villa Ukika, a housing project set up by the military near Puerto Williams on the island of Shunuko in 1954. Not much is left of their culture. Decades ago, the Chilean government brought them churches, schools, wage labor, and an ethnological museum to make sure they understood how they would henceforth live their lives. Scores of international teams of anthropologists have been visiting to take final photographs of the remaining Yaghan, record their voices, and take DNA samples. They trace the image of a culture that has held still for the cameras as long it has been frozen in time. And the Yaghan play along. They make a livelihood of being holdovers from the past. The present? Development? No, nothing. Defying this rearview-mirror mentality in Cape Horn’s backyard, Mario Pfeifer has painted the portrait of an indigenous community in the here and now: it is disappearing not on the periphery but in the very center of the world, where global colonialism and capitalism swallow it up.

Satte Farben, gut getaktete Schnitte und Übergänge, packende Rhythmen: Mario Pfeifers "Approximation" trifft als dreiteilige Videoinstallation den ästhetischen Zeitgeist mit fulminanten Bildern in hochauflösender 4-K-Technologie. Sie entstanden am Ende der Erdscheibe, da wo Menschen manchmal über den Rand fallen und im Nirgendwo verschwinden. Diesmal sind es Feuerlandindianer, die es vielleicht noch gibt, vielleicht auch schon nicht mehr. Pfeifer hat sie gefilmt – hat er? Was auf drei Projektionen im Untergeschoss von KOW zu sehen ist, ist keine Dokumentation, sondern eine Betrachtungsweise. Ein anderer Blick auf eines der ältesten und entlegensten Naturvölker des Planeten: Die Yaghan, die gerade aussterben.

Die ehemaligen Wassernomaden bewohnten die Südspitze Südamerikas seit Jahrtausenden, heute leben sie weitgehend in Villa Ukika, einer 1954 vom Militär eingerichteten Siedlung bei Puerto Williams auf der Insel Shunuko. Viel ist von ihrer Kultur nicht übrig. Mit Kirchen, Schulen, Lohnarbeit und einem Völkerkundemuseum hat die chilenische Regierung schon vor Jahrzehnten klargestellt, wie man lebt. Noch kommen internationale Anthropologenteams in Scharen und machen letzte Fotos von Nachfahren, nehmen Stimmen auf und ziehen Genproben. Sie zeichnen das Bild einer Kultur nach, die so lange für die Kameras stillhält, bis sie einfriert. Und die Yaghan spielen dabei mit. Sie finden Auskommen darin, von Gestern zu sein. Gegenwart? Entwicklung? Fehlanzeige. Gegen diese Rückspiegelmentalität am Kap Hoorn stellt Mario Pfeifer sein Portrait einer indigenen Gemeinschaft im Hier und Jetzt, die nicht etwa an der Peripherie, sondern just im Zentrum der Welt verschwindet, da wo der globale Kolonialismus und Kapitalismus sie schluckt.

Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, 4K Cinema 3-channel-installation, color, surround sound, 26 min
DeutschEnglish

The fish cannery and the nightclub, everyday life and nature: everything is uploaded into the global culture industry’s data streams, where it must seem as strange to international audiences as to the natives themselves.

Fischfabrik, Nachtclub, Alltag, Natur werden hochgeladen in die Datenströme der globalen Kulturindustrie und müssen einem internationalen Publikum dort so eigenartig scheinen wie den Einheimischen selbst.

Pfeifer worked on site for four months, adopting a participant observer’s perspective to film the indigenous people as they live today. In stupendous and sometimes hypnotizing images, he has created an aesthetic model that runs counter to the conventional templates of anthropological and documentary representation. Pfeifer’s exploration – in the language of mathematics, to “approximate” is to forego exact solutions in favor of useful results – is an anti-representational project that blows ancient dust off the Yaghan’s shoulders. "Approximation" yields episodic cross-sections of their living conditions today, accompanied by a techno soundtrack that smooths their transition into audiovisual immateriality. The fish cannery and the nightclub, everyday life and nature: everything is uploaded into the global culture industry’s data streams, where it must seem as strange to international audiences as to the natives themselves. Pfeifer transposes local culture into a new register, releasing it from the antiquated hardened image of a community disfigured by its submission at the hands of modern civilization, and lending it a contemporary face.

Mario Pfeifer arbeitete vier Monate vor Ort und filmte die indigene Gegenwart aus der Perspektive teilnehmender Beobachtung. In erstaunlichen, teils hypnotisierenden Bildern entstand ein ästhetisches Gegenmodell zu den eingespielten Mustern anthropologischer und dokumentarischer Repräsentationen. Pfeifers Annäherung – Approximation meint in der Mathematik den Verzicht auf exakte Lösungen zugunsten eines nützlichen Ergebnisses – ist ein antirepräsentationales Projekt, das den Yaghan alten Staub von den Schultern bläst. "Approximation" zeigt episodische Schnitte durch ihre aktuelle Lebenswelt und trägt sie begleitet von einem Technosoundtrack in die immaterielle Audiovisualität. Fischfabrik, Nachtclub, Alltag, Natur werden hochgeladen in die Datenströme der globalen Kulturindustrie und müssen einem internationalen Publikum dort so eigenartig scheinen wie den Einheimischen selbst. Pfeifer transponiert die lokale Kultur auf eine neue Stimmlage, löst sie aus dem antiquierten Standbild zivilisatorischer Zurichtungen und gibt ihr ein zeitgenössisches Gesicht.

Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, filmstill
Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, filmstill

Pfeifer showed the members of the world’s southernmost people digital copies of photographs of their forebears taken by the German missionary and anthropologist Martin Gusinde around 1920; pictures they had never seen on an electronic device before. The video shows them swiping and zooming through the images on an iPad, identifying relatives and reconstructing lineages that dissolve in the soundtrack’s rhythms. The New York-based musician Kamran Sadeghi also used the Yaghan’s elegiac dirges, which Gusinde recorded in 1923 for his digital compositions. Pfeifer’s "Approximation" is based on research and collaborations with various partners in Chile, Germany, and the United States. A book documenting the project will be published by Sternberg Press in 2015. An editioned album of Sadeghi’s music will be released during the exhibition's opening. Approximation will be presented concurrently in the German Competition section at the International Short Film Festival Oberhausen. Pfeifer was born in 1981 in Dresden, and lives and works in Berlin and New York.

The project was commissioned by the Museo sin Muros, Museo Nacional de Belles Artes, Santiago de Chile, where a first version was exhibited in late 2014. A bilingual publication designed by Markus Weisbeck and an LP with music by Kamran Sadeghi will be available through Sternberg Press in 2015.

Text: Alexander Koch / Translation: Gerrit Jackson / Editing: Kimberly Bradley / Photos: Ladislav Zajac

Fotografien, die der deutsche Missionar und Anthropologe Martin Gusinde um 1920 von der südlichsten Population der Erde aufnahm, machte Pfeifer für deren Nachfahren erstmals digital verfügbar. Im Video wischen und zoomen sie sich auf einem iPad durch das Material, identifizieren Verwandte und rekonstruieren Familienlinien, die sich in den Rhythmen des Soundtracks auflösen. Der New Yorker Musiker Kamran Sadeghi verarbeitete in seiner digitalen Komposition Trauergesänge der Yaghan, die Gusinde 1923 aufnahm. Hinter Pfeifers "Approximation" stehen Recherchen und Kooperationen mit verschiedenen Akteuren in Chile, Deutschland und den USA. Eine Publikation, die 2015 bei Sternberg Press erscheint, wird sie dokumentieren. Eine Schallplattenedition mit den Kompositionen von Kamran Sadeghi erscheint zur Ausstellungseröffnung. Zeitgleich wird Approximation im Deutschen Wettbewerb der Internationalen Kurzfilmtage Oberhausen vorgestellt. Mario Pfeifer, 1981 in Dresden geboren, lebt und arbeitet zwischen Berlin und New York.

Text: Alexander Koch / Fotos: Ladislav Zajac

“Approximation” entstand im Auftrag des Museo sin Muros, Museo Nacional de Belles Artes, Santiago de Chile, und wurde dort 2014 in einer Urfassung gezeigt. Im Herbst 2015 ist die Installation bei Circa Projects, Newcastle (UK) zu sehen.

Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, Installation view KOW
Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, Installation view KOW
Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, Installation view KOW
Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, Installation view KOW
Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, Installation view KOW
Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, Installation view KOW
Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, Installation view KOW
Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, filmstill
Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, filmstill
Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, filmstill
Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, filmstill
Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, filmstill
Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, filmstill
Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, filmstill
Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, filmstill
Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, filmstill
Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, filmstill
Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, filmstill
Mario Pfeiffer, Approximation In The Digital Age To A Humanity Condemned To Disappear, 2014 / 2015, filmstill

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Current

Upcoming

2024

Vul|ne|ra|ble

, Anna Boghiguian, Candice Breitz, CATPC, Alice Creischer, Chto Delat, Clegg & Guttmann, Heinrich Dunst, Anna Ehrenstein, Estate of León Ferrari, Peter Friedl, Sophie Gogl, Estate of Barbara Hammer, The Cabinet of Ramon Haze, Hiwa K, Simon Lehner, Mario Pfeifer, Dierk Schmidt, Michael E. Smith, Franz Erhard Walther, Clemens von Wedemeyer, Tobias Zielony, Anna Ehrenstein & Rebecca Pokua Korang, Sophia Eisenhut & Max Eulitz, Hudinilson Jr., Pınar Öğrenci, Helena Uambembe
Sep 7 – Nov 16, 2024

Tools for Conviviality (Am Schwarzenbergplatz, Vienna)

, Clegg & Guttmann, Anna Ehrenstein, Oswald Oberhuber, cameron clayborn, Heinz Frank, Blerta Hashani, Veronika Pausova, Dardan Zhegrova
Jun 21 – Jul 7, 2024

Social Geometry

, Clemens von Wedemeyer
Apr 26 – Jun 29, 2024

I'll Remember April

, Anna Boghiguian, Alice Creischer, Eugenio Dittborn, Sophie Gogl, Estate of Barbara Hammer, Sandra Brandeis Crawford, Goshka Macuga, Monsieur Zohore
Apr 26 – Jun 29, 2024

No more, not yet (Am Schwarzenbergplatz, Vienna)

, Alice Creischer, Heinrich Dunst, Franz Erhard Walther, Frank Heath, Nova Jiang, Thomas Lerooy, Hanne Lippard, Emile Rubino, Nora Turato
May 15 – Jun 15, 2024

exercises in popular gymnastics

, Santiago Sierra
Mar 9 – Apr 13, 2024

CTRL V (Am Schwarzenbergplatz, Vienna)

, CATPC, Sophie Gogl, Simon Lehner, Julien Bismuth, Tatjana Danneberg, Sam Ekwurtzel, Katja Mater, Florian Meisenberg
Apr 3 – May 11, 2024

Fremdkörper (Am Schwarzenbergplatz, Vienna)

, Candice Breitz, Marco A. Castillo, Dierk Schmidt, Sharona Franklin, Baseera Khan, Brilant Milazimi, Hana Miletic, Mie Yim
Feb 17 – Mar 23, 2024

My Mountain Has No Summit

, Simon Lehner
Nov 18, 2023 – Feb 25, 2024

2023

Teatro Popular

, Peter Friedl
Sep 15 – Nov 4, 2023

Like a Good, Good, Good Boy

, Hiwa K
Apr 28 – Jul 22, 2023

Casa Negra

, Marco A. Castillo
Mar 17 – Apr 15, 2023

Barbara Hammer & Hudinilson Jr

, Estate of Barbara Hammer, Hudinilson Jr
Mar 17 – Apr 15, 2023

Watching TV in Narva

, Tobias Zielony
Jan 28 – Mar 4, 2023

Das Auto Rosi aber

, Anna Boghiguian, Candice Breitz, Marco A. Castillo, Alice Creischer, Chto Delat, Heinrich Dunst, Anna Ehrenstein, Peter Friedl, Sophie Gogl, Clegg & Guttmann, Estate of Barbara Hammer, Hiwa K, Simon Lehner, Renzo Martens, Oswald Oberhuber, Mario Pfeifer, Santiago Sierra, Michael E. Smith, Franz Erhard Walther
Nov 26, 2022 – Jan 14, 2023

2022

Proof of the Unthinkable

, Mario Pfeifer
Sep 16 – Nov 12, 2022

JOINT VENTURES: Carlos∕Ishikawa, London

Richard Sides – Basic Vision
Sep 16 – Nov 12, 2022

KOW at Sperling, Munich: Various Others 2022

, Anna Ehrenstein, Andrew Gilbert
Sep 10 – Oct 15, 2022

Latest News

Istvan Kantor
Jul 15 – Aug 20, 2022

Canary Archive

, Chto Delat
Jul 15 – Aug 20, 2022

KOW at LA MAISON DE RENDEZ–VOUS, Brussels: Kleine Beestjes

, Sophie Gogl
Jul 6 – Aug 31, 2022

Anna Boghiguian

, Anna Boghiguian
Apr 29 – Jun 25, 2022

Anna Boghiguian / Alice Creischer

, Anna Boghiguian, Alice Creischer
Apr 29 – Jun 25, 2022

BALOT

, CATPC, Renzo Martens
Feb 11 – Apr 8, 2022

The Albanian Conference: Home Is Where The Hatred Is

, Anna Ehrenstein, feat. DNA, Fadescha, Rebecca-Pokua Korang
Nov 12, 2021 – Jan 29, 2022

Idea / Ideal

, Marco A. Castillo
Nov 12, 2021 – Jan 29, 2022

2021

Michael E. Smith

, Michael E. Smith
Sep 10 – Oct 31, 2021

The Bell Project

, Hiwa K
Jun 18 – Jul 24, 2021

Joint Ventures: Felix Gaudlitz, Vienna

Milena Büsch, Simon Lässig, Vera Lutz
Jun 18 – Jul 24, 2021

Jars

, Sophie Gogl
May 1 – Jul 24, 2021

What must not be, cannot be

, Mario Pfeifer
May 1 – Jun 12, 2021

Joint Ventures: Galerie nächst St. Stephan Rosemarie Schwarzwälder, Wien

Sonia Leimer – Junks of Joy
May 1 – Jun 12, 2021

Downstairs: Forced Love

, CATPC
Mar 26 – Apr 18, 2021

Permanente Veränderung

, Oswald Oberhuber
Mar 8 – Apr 18, 2021

JOINT ventures: Modern Art, London

Collier Schorr - Day for Night (1992/2021)
Mar 8 – Apr 18, 2021

Online exhibition: works on paper

, Oswald Oberhuber
Feb 1 – Mar 26, 2021

KOLONNEN - hohenzollern ist jetzt ein Verb

, Dierk Schmidt
Nov 20, 2020 – Jan 30, 2021

Downstairs: Airmail Paintings 186 and 192

, Eugenio Dittborn
Nov 20, 2020 – Jan 30, 2021

Online exhibition: The films

, Eugenio Dittborn
Dec 4, 2020 – Jan 31, 2021

2020

Online exhibition: One night in a social network

, Chto Delat
Oct 4 – Dec 4, 2020

Would You Like to Meet Your Neighbor?

, Estate of Barbara Hammer
Sep 11 – Nov 7, 2020

Downstairs: Two recent films

, Tobias Zielony
Sep 11 – Nov 7, 2020

OUT OF THE DARK II

, Candice Breitz, Chto Delat, Clegg & Guttmann, Alice Creischer, Heinrich Dunst, Estate of Barbara Hammer, The Cabinet of Ramon Haze, Hiwa K, Frédéric Moser & Philippe Schwinger, Oswald Oberhuber, Mario Pfeifer, Dierk Schmidt, Santiago Sierra, Michael E. Smith, Franz Erhard Walther, Clemens von Wedemeyer, Tobias Zielony, CATPC, Anna Ehrenstein, Christoph Schäfer
May 23 – Aug 15, 2020

Online exhibition: The Illusion of a Crowd

, Clemens von Wedemeyer
Apr 7 – May 31, 2020

Labour

, Candice Breitz
Feb 29 – Apr 30, 2020

Machines to change the world

Elena Asins
Feb 15 – Mar 14, 2020

Downstairs: Maschinen zur Veränderung der Welt

, The Cabinet of Ramon Haze
Feb 15 – Mar 14, 2020

TOASTED ANGELS, SOUNDS OF STEEL

, Estate of León Ferrari
Nov 23, 2019 – Feb 1, 2020

Michael E. Smith

, Michael E. Smith
Sep 13, 2019 – Jan 25, 2020

2019

Stadtschlawinereien

, Alice Creischer, Dierk Schmidt, Michael E. Smith, Brandlhuber+, Larissa Fassler, Adelita Husni-Bey, Peng!, Andrea Pichl, Andreas Siekmann, Bárbara Wagner & Benjamin de Burca, Weekend & Plaste, et al.
Sep 7 – Nov 9, 2019

Oberhuber. Un futuro.

, Oswald Oberhuber
May 31 – Jul 27, 2019

Clegg & Guttmann and Franz Erhard Walther

, Clegg & Guttmann, Franz Erhard Walther
Apr 26 – Jul 27, 2019

Make up

, Tobias Zielony
Mar 2 – May 18, 2019

Ostalgie

Henrike Naumann
Feb 2 – Apr 28, 2019

His Master's Voice

, Alice Creischer
Nov 24, 2018 – Jan 19, 2019

Crusoe

, Eugenio Dittborn
Nov 24, 2018 – Jan 19, 2019

Contribution to Light. The Early Works of Barbara Hammer

, Estate of Barbara Hammer
Sep 13, 2018 – Jan 31, 2019

2018

Was euch am Leben hält, ist, was bei uns zu Asche zerfällt *

, Alice Creischer, Mario Pfeifer, Michael E. Smith, Tobias Zielony, Henrike Naumann
Sep 8 – Nov 10, 2018

EL OTRO, EL MISMO / THE OTHER, THE SAME

Los Carpinteros
Apr 28 – Jul 21, 2018

Maskirovka

, Tobias Zielony
Mar 24 – Apr 15, 2018

Double Bodies

, Frédéric Moser & Philippe Schwinger
Feb 10 – Mar 17, 2018

Hotel Résistance

Ahmet Öğüt
Nov 25, 2017 – Jan 28, 2018

2017

Michael E. Smith

, Michael E. Smith
Sep 16 – Nov 5, 2017

Love Story

, Candice Breitz
Apr 29 – Jul 30, 2017

On the Possibility of Light

, Chto Delat
Feb 18 – Apr 9, 2017

On Fear and Education, Disenchantment and Justice, Protest and Disunion in Saxony / Germany

, Mario Pfeifer
Dec 1, 2016 – Apr 15, 2017

The Cabinet of Ramon Haze

, The Cabinet of Ramon Haze
Nov 19, 2016 – Jan 29, 2017

Things, Not Words

, Heinrich Dunst
Nov 19, 2016 – Jan 29, 2017

2016

Barbara Hammer & Oswald Oberhuber

, Estate of Barbara Hammer, Oswald Oberhuber
Sep 17 – Nov 6, 2016

Out Of The Dark

, Chto Delat, Alice Creischer, Eugenio Dittborn, Heinrich Dunst, Estate of Barbara Hammer, Hiwa K, Renzo Martens, Chris Martin, Frédéric Moser & Philippe Schwinger, Mario Pfeifer, Dierk Schmidt, Michael E. Smith, Franz Erhard Walther, Clemens von Wedemeyer, Tobias Zielony, The Cabinet of Ramon Haze
Jun 26 – Jul 31, 2016

The Citizen

, Tobias Zielony
Apr 30 – Jun 12, 2016

This Lemon Tastes of Apple

, Hiwa K
Apr 30 – Jun 12, 2016

Broken Windows 6.3

, Dierk Schmidt
Mar 12 – Apr 16, 2016

Cast Behind You The Bones Of Your Mother

, Clemens von Wedemeyer
Dec 19, 2015 – Feb 27, 2016

2015

Left To Our Own Devices

Hito Steyerl
Sep 17 – Dec 5, 2015

A Summer Of Films

, Chto Delat, Alice Creischer, Eugenio Dittborn, Heinrich Dunst, Estate of Barbara Hammer, Renzo Martens, Frédéric Moser & Philippe Schwinger, Mario Pfeifer, Michael E. Smith, Franz Erhard Walther, Clemens von Wedemeyer, Tobias Zielony, Screening program
Jun 28 – Jul 26, 2015

Approximation In The Digital Age To A Humanity Condemned To Disappear

, Mario Pfeifer
May 2 – Jun 25, 2015

A Lucky Day

, Renzo Martens, CATPC
May 2 – Jul 26, 2015

Time Capsule. Artistic Report on Catastrophes and Utopia

, Chto Delat
Feb 28 – Apr 18, 2015

Have A Crush

, Estate of Barbara Hammer
Jan 10 – Feb 14, 2015

Dream Lovers. The Films 2008–2014

, Tobias Zielony
Dec 6, 2014 – Feb 14, 2015

2014

Dämmstoffe

, Heinrich Dunst
Nov 1 – Dec 18, 2014

Pinturas Aeropostales

, Eugenio Dittborn
Sep 13 – Nov 23, 2014

Cool Drink on a Hot Day

, Chris Martin
May 3 – Jul 27, 2014

In The Stomach Of The Predators

, Alice Creischer
Mar 1 – Apr 19, 2014

2013

Körperformen

, Franz Erhard Walther
Nov 30 – Feb 13, 2013

40 cbm Of Earth From The Iberian Peninsula

, Santiago Sierra
Sep 14 – Oct 30, 2013

Michael E. Smith II

, Michael E. Smith
Apr 27 – Jul 13, 2013

Dignity

, Estate of Barbara Hammer
Feb 16 – Apr 14, 2013

Believers

, Alice Creischer, Chto Delat, Estate of Barbara Hammer, Frédéric Moser & Philippe Schwinger, Michael E. Smith, Franz Erhard Walther, Tobias Zielony, Zanny Begg, Joseph Beuys, Arno Brandlhuber, Ines Doujak, Philippe Halsman, Adrian Piper, Pussy Riot, Christoph Schlingensief, Andreas Siekmann, Santiago Sierra, Andreas Slominski, Sean Snyder
Nov 10, 2012 – Feb 3, 2013

2012

Im Archipel

Arno Brandlhuber
Sep 8 – Oct 21, 2012

Das Etablissement der Tatsachen The Establishment of Matters of Fact

, Alice Creischer
Apr 27 – Jul 22, 2012

Manitoba

, Tobias Zielony
Feb 3 – Apr 15, 2012

Tina Schulz


Nov 5, 2011 – Jan 28, 2012

2011

A Formal Film In Nine Episodes, Prologue & Epilogue

, Mario Pfeifer
Sep 10 – Oct 28, 2011

Social Violence

, Santiago Sierra, Cady Noland
Apr 30 – Jul 29, 2011

Barbara Hammer

, Estate of Barbara Hammer
Feb 12 – Mar 17, 2011

Franz Erhard Walther

, Franz Erhard Walther
Nov 6, 2010 – Feb 11, 2011

2010

Chris Martin

, Chris Martin
Sep 11 – Oct 24, 2010

Michael E. Smith

, Michael E. Smith
Jun 12 – Jul 25, 2010

Vele, Zgora

, Tobias Zielony
May 1 – Jun 5, 2010

The Fourth Wall

, Clemens von Wedemeyer
Jan 23 – Apr 22, 2010

Antirepresentationalism 3: Issues of Empathy Conceptual and Socially oriented Art in Leipzig 1997–2009

, The Cabinet of Ramon Haze, Mario Pfeifer, Clemens von Wedemeyer, Tobias Zielony, Peggy Buth, Jan Caspers/ Anne König/ Jan Wenzel, Chat, Markus Dressen, Famed, Till Gathmann, Lina Grumm, Andreas Grahl, Henriette Grahnert, Mark Hamilton, Bertram Haude, Ramon Haze, Oliver Kossack, Andrea Legiehn, Thomas Lüer, Claudia Annette Maier, Ulrich Polster, Julius Popp, schau-vogel-schau, Julia Schmidt, Tilo Schulz, spector cut+paste, Christoph Weber, Arthur Zalewski
Nov 28, 2009 – Jan 15, 2010

2009

Antirepresentationalism 2: Trouble with Realism. Conceptual and Socially oriented Art in Leipzig 1997–2009

, The Cabinet of Ramon Haze, Mario Pfeifer, Clemens von Wedemeyer, Tobias Zielony, Peggy Buth, Famed, Markus Dressen, Andreas Grahl, Henriette Grahnert, Eiko Grimmberg/ Arthur Zalewski, Mark Hamilton, Ramon Haze, Oliver Kossack, Claudia Annette Maier, Ulrich Polster, Julius Popp, schau-vogel-schau (Marcel Bühler, Alexander Koch), Julia Schmidt, Tilo Schulz, spector cut+paste, Christoph Weber
Oct 17 – Nov 21, 2009

Antirepresentationalism 1: Politics of Redescription. Conceptual and Socially oriented Art in Leipzig 1997–2009

, The Cabinet of Ramon Haze, Mario Pfeifer, Clemens von Wedemeyer, Tobias Zielony, Peggy Buth, Jan Caspers/ Anne König/ Jan Wenzel, Chat, Markus Dressen, Famed, Till Gathmann, Lina Grumm, Andreas Grahl, Henriette Grahnert, Mark Hamilton, Bertram Haude, Oliver Kossack, Andrea Legiehn, Thomas Lüer, Claudia Annette Maier, Ulrich Polster, Julius Popp, schau-vogel-schau, Julia Schmidt, Tilo Schulz, spector cut+paste, Christoph Weber, Arthur Zalewski
Sep 4 – Oct 10, 2009

KOW ISSUE 5: Spirituality and Anti-Universalism

, Chris Martin
May 1 – May 30, 2009

KOW ISSUE 4: THE SOCIAL USE OF SIGNS (OBLIGATION TO EXPRESS)


Apr 3 – Apr 27, 2009

KOW ISSUE 3: Detroits' Post-Fordism

, Michael E. Smith
Mar 27 – Mar 29, 2009

KOW ISSUE 1: Participatory Minimalism

, Franz Erhard Walther
Feb 27 – Mar 21, 2009

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