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Yours, KOW

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

DeutschEnglish

The right to blasphemy should become a human right. The special right to the protection of religious sentiments, by contrast, should not. Trampling on such feelings is not a very empathetic thing to do, but the fact that they seem to be particular sensitive is not the fault of those who do not share that sensitivity.

Das Recht auf Blasphemie sollte ein Menschenrecht werden. Das Recht auf den Schutz religiöser Gefühle hingegen nicht. Auf solchen Gefühlen herumzutrampeln ist nicht sehr feinsinnig, dass sie aber besonders reizbar scheinen ist kein Verschulden derjenigen, die diese Reizbarkeit nicht teilen.

Everyone is free to keep Golden Calves in the privacy of their own home. In the public sphere, however, it must be permissible to laugh about them, ridicule them, and even offend them. Articles of faith are not very susceptible to fact-based discussion without a predetermined outcome, and so it is virtually impossible to impose rational limitations on their critique. That, after all, is what faith is: defending something even when everything that speaks for it has been refuted.

The believer persists even when the ground beneath his feet falls away. Faith establishes regimes or falls in line behind them. It lends a totalitarian face to the indefinable, creates spaces devoid of argument, places without discourse, and a thinking that knows no alternatives. Believers cling to truths that, if push comes to shove, they have only one way to justify: with intransigence. Many psychologists and cognitive scientists see articles of faith as ossified mental constructs and as the core of conditioned behavioral patterns. Where tenets of faith begin, so does domination, and all room for negotiation ends; people become rigid and stubborn. Hence their interest in public office and the long history of their penchant for authority, which is by no means a thing of the past.

Ob man sich privat Goldene Kälber hält, ist eines jeden freie Entscheidung. Im öffentlichen Raum aber muss man über sie lachen, sie durch den Kakao ziehen, ja, sie sogar angreifen dürfen. Denn da Glaubensgrundsätze für sachliche Gespräche mit offenem Ausgang nicht sehr empfänglich sind, lässt sich Kritik an ihnen kaum rational begrenzen. Das macht ja Glauben aus: Eine Sache selbst dann noch zu verteidigen, wenn nichts mehr für sie spricht.

Wer glaubt beharrt, auch wenn der Boden wegbricht. Glaube etabliert Regime oder schließt sich ihnen an. Er gibt dem Unbestimmbaren ein totalitäres Gesicht, erschafft Räume ohne Argumente, Orte ohne Diskurs und ein Denken ohne Alternativen. Gläubige halten an Wahrheiten fest, die sich im Zweifelsfall nur auf eine Weise rechtfertigen lassen: durch Unnachgiebigkeit. Mit manchen Psychologen und Kognitionsforschern sehen wir Glaubensgrundsätze als mentale Verhärtungen und als den Kern konditionierter Verhaltensmuster. Wo Glaubenssätze beginnen, beginnt auch Herrschaft, endet jeder Verhandlungsspielraum, werden Menschen unbeweglich und stur. Daher ihr Interesse an Ämtern und die lange Geschichte ihres Hangs zur Autorität, die keineswegs vorbei ist.

Believers, 2012, installation view KOW
DeutschEnglish

But faith migrates, from object to object, and is perfectly capable of renaming its deities.

Doch Glauben wandert, von Objekt zu Objekt, und tauft seine Götter durchaus um.

True, we are all unbelievers when it comes to most of the gods our ancestors still believed in. But faith migrates, from object to object, and is perfectly capable of renaming its deities. Dogmatists of economic liberalism, for example, still want to commit the world to Adam Smith’s metaphysics of the “Invisible Hand,” no matter that mainstream economists regard it as disproven, no matter that it is hardly helpful. Faith in “the markets” and insistence on economic growth, policies that are “without alternative” amid an unprecedented systemic crisis, the automated invocations of “democracy” and its institutions, but also attacks by conspiracy theorists against “the system” or the propaganda right-wing radicals spew—these are all no less based on adapted tenets of faith than Bible-abiding morality.

As to Dear God, 20% of the world’s population prefer not to believe in him. Roughly equal numbers of people profess Islam or Catholicism. Compared to the vociferous lobbyists for these faiths, unbelievers tend to be quieter—they have no shared credo to sing in unison. Reason enough to support Richard Dawkins’s appeal to atheists and agnostics to come out of the closet. Dawkins, an evolutionary biologist, found it intolerable, for example, that while most American intellectuals think godless thoughts and live godless lives, every U.S. election campaign woos the religious clientele as though there were no others. The consequence, he argued, is a distorted picture of social realities.

There are plenty such distortions. Exposing them could be a civic virtue, assuming we are interested in an open society. Drawing on positions that are part of KOW’s program and adding a few works by other artists, we have put together an exhibition on short notice that uses the means of satire and deliberate misrepresentation, but also launches frontal attacks, against today’s fetishes and Golden Calves as well as the tendency to genuflect before them. We were interested in addressing patterns of faith not just where they are obvious—in the religious context—but also in popular culture and in political and economical ideology. When such patterns help establish compulsive ideas that go beyond the private realm to infect society at large, when personal sentiments develop an affinity for power and violence, it must be permissible to denounce them as well.

Text and photos: Alexander Koch / Translation: Gerrit Jackson

Denn zwar sind wir alle Heiden hinsichtlich der meisten Götter, an die unsere Vorfahren noch glaubten. Doch Glauben wandert, von Objekt zu Objekt, und tauft seine Götter durchaus um. Wirtschaftsliberale Dogmatiker etwa schwören die Welt weiter auf Adam Smiths Metaphysik der „Unsichtbaren Hand“ ein, gleich wie widerlegt sie in der Fachwelt ist und wie wenig sie weiterhilft. Der Glaube an „die Märkte“ und das Insistieren auf ihrem Wachstum, die politische „Alternativlosigkeit“ mitten in einer beispiellosen Systemkrise, das automatisierte Beschwören „der Demokratie“ und ihrer Institutionen, aber auch konspirationstheoretische Angriffe auf „das System“ oder die Propaganda von Rechtsradikalen – all das basiert genauso auf adaptierten Glaubenssätzen wie bibeltreue Moralität.

Bleiben wir beim Lieben Gott, so glaubt rund 20% der Weltbevölkerung lieber nicht daran. Ähnlich viele Menschen bekennen sich je zum Islam und zum Katholizismus. Verglichen mit der Lautstärke von deren Lobbies sind Nichtgläubige eher leise, denn sie singen nicht das gleiche Glaubensbekenntnis. Grund genug, ein atheistisches oder agnostisches Coming-out zu unterstützen, wie es Richard Dawkins forderte. Der Evolutionsbiologe fand es z.B. unerträglich, dass die meisten amerikanischen Intellektuellen gottlos dächten und lebten, jeder US-Wahlkampf aber religiöse Klientel umwerbe, als gäbe es keine andere. Denn so verzerre sich das Bild gesellschaftlicher Realitäten.

Solche Verzerrungen gibt es reichlich. Sie zu entblößen könnte eine Tugend sein, vorausgesetzt man hat an einer offenen Gesellschaft Interesse. Aus dem Programm von KOW haben wir eine Ausstellung zusammengestellt und um einige Positionen erweitert, die mit den Mitteln der Satire, der Verdrehung, aber auch des Frontalangriffs Fetische und Goldene Kälber der Gegenwart angeht und die Neigung, vor ihnen auf die Knie zu fallen. Uns hat interessiert, Glaubensmuster nicht nur da zu thematisieren, wo sie offensichtlich sind – im religiösen Kontext –, sondern auch in ökonomischer und politischer Ideologie sowie in der Popkultur. Wo solche Muster nicht allein private, sondern gesellschaftliche Zwangsvorstellungen etablieren helfen und persönliche Gefühle eine Affinität zu Macht und Gewalt entfalten, muss man diese auch denunzieren dürfen.

Text und Photos: Alexander Koch

Believers, KOW 2012, Philippe Halsman, Mao as Marilyn, 1967, 34 x 25,8 cm, Private collection
Believers, KOW 2012, Ines Doujak, Prometheus, 2012, Collage, photoprint on fabric, Detail
Believers, KOW 2012, Franz Erhard Walther, Ku Klux Klan, 1957, Pencil, distemper on thin cardboard, 62 x 45 cm
Believers, 2012, installation view KOW
Believers, 2012, installation view KOW
Believers, 2012, installation view KOW
Believers, 2012, installation view KOW
Believers, 2012, installation view KOW
Believers, 2012, installation view KOW
Believers, KOW 2012, Christoph Schlingensief, Little Shrine, 2006, Wood, bird cage, 3 car side mirrors with TFT-screens, 2 digital prints, speaker, 100 x 35 x 120 cm, Sammlung Charim, Vienna
Believers, 2012, installation view KOW
Believers, KOW 2012, Alice Creischer, Untitled, 2007, Painted photographs mounted on wood, strip of paper, pencil, dumb bell, Ø 80 cm, depth: 5 cm
Believers, 2012, installation view KOW
Believers, 2012, installation view KOW
Believers, 2012, installation view KOW
Believers, 2012, installation view KOW
Believers, 2012, installation view KOW
Believers, KOW, 2012, Arno Brandlhuber, This Is Me This Is My Country, 2012, Video projection, orchids, architectural model, booklet, 10 botanic drawings (by Roland Spohn)
Believers, KOW, 2012, Arno Brandlhuber, This Is Me This Is My Country, 2012, Video projection, orchids, architectural model, booklet, 10 botanic drawings (by Roland Spohn), Detail
Believers, KOW, 2012, Anonym, Untitled, 2011
Believers, 2012, installation view KOW
Believers, 2012, installation view KOW
Believers, 2012, installation view KOW
Believers, KOW 2012, Ines Doujak, Hermes (Frau mit Schere), 2012, C-Print, 72 x 90 cm
Believers, KOW, 2012, Tobias Zielony Detail
Believers, 2012, installation view KOW
Believers, KOW, 2012, Alice Creischer, Andreas Siekmann, Untitled (for ExArgentina), 2004, Curtain (silver fabric on sequined fabric), Detail
Believers, KOW, 2012, Alice Creischer, Andreas Siekmann, Untitled (for ExArgentina), 2004, Curtain (silver fabric on sequined fabric), Detail
Believers, KOW, 2012, Alice Creischer, Andreas Siekmann, Untitled (for ExArgentina), 2004, Curtain (silver fabric on sequined fabric), Detail
Believers, KOW, 2012, Alice Creischer, Untitled (Showmaster Jackets), 1998, C-Print, 50,5 x 75 cm
Believers, 2012, installation view KOW
Believers, 2012, installation view KOW
Believers, 2012, installation view KOW
Believers, KOW 2012, Ines Doujak, Prometheus, 2012, Collage, photoprint on fabric, Detail
Believers, KOW 2012, Alice Creischer, Andreas Siekmann, Easy Rider, 2000, Episoden zur arbeitsbefreiten, Gesellschaft, Video, color, sound, 4‘50“, film still

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Current

Upcoming

2024

exercises in popular gymnastics

, Santiago Sierra
Mar 9 – Apr 13, 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, Tina Schulz, 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, Tina Schulz, 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

, 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, Tina Schulz, 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, Tina Schulz, 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, Tina Schulz, 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)

, Tina Schulz
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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