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Yours, KOW

The Albanian Conference: Home Is Where The Hatred Is

, Anna Ehrenstein, feat. DNA, Fadescha, Rebecca-Pokua Korang

Nov 12, 2021 – Jan 28, 2022

DeutschEnglish

Every now and then, art demonstrates what progress might look like because it does—experiments with—something that isn’t quite so easy to do on a grand social, political, or economic scale, even though it appears to be urgently called for or at least has long been called for by progressive voices. For example? Fair global collaboration, decolonialized relations, solidarity that extends beyond traditional in-groups, a concern with issues that are not necessarily one’s own yet vital to individuals as well as the whole community. Did someone say: discourse of the commons? Yes, that too. And if you haven’t heard of it, time to get used to it: commoning (as a lived practice of looking to the common good rather than economic profit, including in art) will be a key theme in the near future.

Manchmal zeigt die Kunst, wie Fortschritt gehen könnte, weil sie – ausprobierend – etwas tut, was in großen gesellschaftlichen, politischen oder wirtschaftlichen Skalen nicht so einfach ist, auch wenn es dringend angeraten scheint oder zumindest von progressiven Stimmen längst gefordert wird. Zum Beispiel? Faire globale Kollaboration, entkolonialisierte Verhältnisse, Solidarität über angestammte Wir-Bezüge hinaus, ein Kümmern um Belange, die nicht unbedingt die eigenen sind, aber wichtig für Einzelne wie auch fürs Ganze. Hat da jemand Commons-Diskurs gesagt? Ja, auch das. Und wer das Wort noch nicht kennt, möge sich bitte daran gewöhnen: Commoning (als gelebte Praxis der Gemeinwohlorientierung und -ökonomie, auch in der Kunst) wird uns in den kommenden Jahren noch reichlich beschäftigen.

Sounds complicated? Just a bit. Anna Ehrenstein’s exhibition experiments with—does, puts into practice—what appears to be urgently called for. She creates an occasion, sets a stage, establishes an economy for a model of cultural collaboration, of concentus and coproduction, that intertwines political demands from various places all over the world. She teamed up with Fadescha, an influential art and cultural activist from Delhi; DNA, the duo of musicians from Lagos also known as Blair Opara and Clint Opara; and Beccy-Pokua Korang, an Afro-German performer. The five met in Albania, where Ehrenstein has a home, to produce four videos that constitute the exhibition’s core.

The point of departure for their collaboration: the lessons each of them had learned during public protests that they had actively supported. Protests against police violence, arbitrary decisions by the authorities, and corruption in Nigeria; protests against the caste hierarchy, hetero-patriarchal violence, and the reactionary government in India; protest against gender-discriminatory laws in Ghana; antiracist protests in Germany. Also a point of departure: shared demands for LGBTQ acceptance, improved access to basic necessities for everyone, decolonialization. Demands that have been on the table for a long time.

That’s why yet another, a historic point of departure for the project were the Afro-Asian Writers’ Conferences held starting in 1958—the inaugural conference convened in Tashkent—which made history as a forum for these and related demands, though without achieving much, the fate of many such efforts. The collective around Anna Ehrenstein gathers in front of the camera on an ancient site in Albania to propose its own conference, informed by Occupy methods, that would articulate the participants’ various demands; some are utopian, while others seek to reclaim achievements and attainments of the past. Two music videos by Lagos’s DNA spotlight public corruption and digital tools encouraging neighbors to inform against each other (“Community Policing”). A fourth film presents quotes we should read if we hope to get somewhere.

At the gallery, the working group’s four video productions are screened on fitness equipment, an arrangement inspired by Fadescha’s belief that protests are not defined by their substantial demands alone, that they should also be seen as a workout program for the body that needs to make its weight felt in the public arena. The additional pictures and sculptures casting the project’s discourse into a creaking hybrid aesthetic are part of the ambition to harness (and test) collective popular imageries as a vehicle for progressive messages—a means, in fact, to lend creative appeal and form to them. Even a punching bag from a boxing club makes for a not implausible metaphor: the rage or despair that drive people to strike out, or the sheer pleasure of taking a swing, might be an essential part of it, too.

For how could people not be enraged, right? How, when we think about everything that’s been mentioned, could we not be furious? The art on display in the exhibition recognizes and integrates that rage yet channels it into a positive language of activity, of collaboration, of community spirit; of music and the physical expression of emotion and, not least importantly, the physical articulation of political stances and of a lived and living transformation of the familiar (which has been, and still is, in part a product of colonial, racist, and sexual violence). That explains how this exhibition—not despite but actually because of its themes—is at its heart a cheerful affair.

It addresses suffering without speaking the languages of an art that’s only too adept at capitalizing on that suffering, its modes of representation victimizing victims a second time rather than featuring them as agents (did someone say documentarism?). It puts a finger on where it hurts without causing more hurt. Better to inspire people, with ideas and practical models, to empower—and be it only as an experiment—the commons.

Klingt kompliziert? Nur ein bisschen. Anna Ehrensteins Ausstellung probiert aus – tut und macht–, was dringend angeraten scheint. Sie schafft Anlass, Bühne und Ökonomie für ein kulturelles Kollaborationsmodell der Gemeinstimmigkeit und Koproduktion, das politische Forderungen von verschiedenen Flecken der Erde miteinander verbindet. Sie tat sich zusammen mit Fadescha, eine*r einflussreichen Kunst- und Kulturaktivist*in aus Delhi, DNA, einem Musiker-Duo aus Lagos alias Blair Opara und Clint Opara, und Beccy-Pokua Korang, einer afro-deutschen Performerin. Gemeinsam arbeiteten die fünf in Ehrensteins Heimat Albanien an der Produktion von vier Videos, die den Kern der Ausstellung bilden.

Ausgangspunkt der Zusammenarbeit: Die Erfahrungen, die alle Beteiligten während öffentlicher Proteste machten, die sie jeweils aktiv unterstützen. Proteste gegen die Polizei- und Behördenwillkür und Korruption in Nigeria, Proteste gegen die Kastenhierarchie, die heteropatriarchale Gewalt und die reaktionäre Regierung in Indien, Proteste gegen genderdiskriminierende Gesetze in Ghana, antirassistische Proteste in Deutschland. Ausgangspunkt auch: Gemeinsame Forderungen nach LGBTQ-Akzeptanz, besserer Grundversorgung der Bevölkerung, Entkolonialisierung. Forderungen, die lange schon erhoben werden.

Und so waren ein weiter, historischer Ausgangspunkt des Projektes die afro-asiatischen Schriftstellerkonferenzen, die zuerst 1958 in Tashkent abgehalten wurden und als Forum für ebensolche Forderungen Geschichte schrieben, ohne viel zu erreichen, wie es so oft der Fall ist. In antiker Kulisse findet das Kollektiv um Anna Ehrenstein in Albanien vor der Kamera zusammen, um ihrerseits eine an Occupy-Methoden geschulte Konferenz in den Raum zu stellen und Forderungen zu erheben, die teils utopisch sind, teils schon Erreichtes und Erkämpftes reklamieren. Zwei Musikvideos von DNA aus Lagos rücken Staatskorruption und digitale Formen der Nachbarschaftsdenunziation („Community Policing“) ins Rampenlicht. Ein vierter Film führt Zitate vor, die wir lesen sollten, um voranzukommen.

Dass die vier Videoproduktionen der Arbeitsgemeinschaft im Galerieraum auf Fitnessgeräten zu sehen sind, geht zurück auf Fadeschas Überzeugung, dass Protest nicht nur inhaltlich, sondern auch als ein Trainingsprogramm für den Körper zu begreifen sind, der sich im öffentlichen Raum stark zu machen hat. Dass weitere Bilder und Skulpturen in hybrid knirschender Ästhetik den Diskurs des Projektes in Form bringen, ist Teil der Ambition, kollektive populäre Bildsprachen zu nutzen (und zu überprüfen), um progressive Inhalte vermittelbar, ja künstlerisch attraktiv und gestaltbar zu machen. Da mag auch ein Sandsack aus der Boxwelt eine plausible Metapher sein, denn das Ganze könnte auch damit zu tun haben: Mit der Wut, mit der Lust und der Not, zuzuschlagen.

Denn wie sollte man nicht wütend sein, oder? Wie sollte, alles oben Gesagte reflektiert, nicht Wut das Ergebnis sein? Das in der Ausstellung Gezeigte kennt und integriert diese Wut, bricht sie aber um in eine positive Sprache der Aktivität, der Kollaboration, des Gemeinsinns, auch der Musik und der körperlichen Äußerung von Emotion, ja, auch der körperlichen Äußerung von politischer Haltung und von gelebter, lebender Veränderung des Bekannten (das auch Produkt kolonialer, rassistischer und sexueller Gewalt ist, damals wie heute). Und so ist diese Ausstellung nicht trotz, sondern gerade angesichts ihrer Themen, im Grunde heiter.

Sie spricht vom Leiden, ohne die Sprachen einer Kunst zu sprechen, die gerne Profit aus diesem Leiden schlägt, wenn sie Opfer in ihren Darstellungsformen ein zweites Mal zu Opfern macht, anstatt zu Handelnden (hat jemand Dokumentarismus gesagt?). Sie spricht von dem, was wehtut, ohne selber wehzutun, und inspiriert dazu – und sei es nur versuchshalber – das Gemeinsame zu ermächtigen.

The first Afro-Asian writers conference was held in 1958 in Tashkent, at that time USSR, now the capital of contemporary Uzbekistan. Inspired by the Badung conference, the Afro-Asian writers conference took place over two decades to denounce imperialism and establish cultural contacts among participating countries. In addition to providing a forum for sharing literary works, the conference served as a venue for political discussion. Sixty-three years later Ehrenstein invites Fadescha, DNA and Korang-Pokua to her home country Albania, to revise the conference in a post-colonial and post-digital environment.

The newly awakened alliance is born from an incredibly charged social and political moment, one of continuous environmental degradation, global pandemic, militarized police force, relentless racism, casteism, border brutality, and drastic social inequality - in all it's exaggerations for the Global South and it's descendants. A resulting multidisciplinary work will explore the relationship of networked images, physical resistance and solidarity. Digital technologies have become the default mode of knowing who we are, how we connect with each other, and how we relate to the planet. Amidst a "diversifcation" of global pop and club culture, that lead to multiple claims of a “decolonized dance-foor”, current abolitionist desires are sparked by severe injustices. Be it desiring the end of the militarization of police forces and brutality, like the End-Sars movement DNA have been protesting in Lagos, the abolition of gender and caste systems Fadescha is addressing in the Indian context, the antiracist protests of Pokua's and Ehrenstein's Berlin base or the state capture context of Albania.

Using the documentary as basis for magical realism an installation of a multi screen video work with two new songs by DNA will be created in July 2021. The video work will combine fction, music video tactics, interviews and conversations as well as found footage. Through the crossdisciplinary collaboration and the distinct knowledges of the artistic team we inquire to investigate, can we find tenderness in each other, while being situated within nation-states that construct us to profit from our vis-a-vis suffering? Can we nourish hope within the planetary hostile environment, in which our bodies are rendered differentially grievable through new forms of racial capitalism? In which the abusive tactics of Western domination aren't anymore limited to the West or whiteness, as in the neocolonial relationship between China and Africa - but a more “diverse” plutocrat elite profts of a global necropolitical and heteropatriarchal order, using mechanisms like the International Monetary Fund, World Bankor the World Trade Organization. In which images of some protest spread like wildfire and drown the network in a sea of pain, while certain non-dominant narratives can be buried by design engineering and virtual community policing.

How can we translate these thoughts into the artistic languages of our diverging practices? DNA being musicians, Ehrenstein and Fadescha artist-curators and Pokua-Korang a dancer. As our communities are placed at the mercy of technological devices and algorithmic estimates, ubiquitously central to our cultural and political strategies, the collaboration started in January through cross-continental FaceTimes.

For a site specific live performance piece DNA and Fadescha will travel to Berlin and activate the exhibition in collaboration with Ehrenstein, Korang and local actors.

text: Alexander Koch
translation: Gerrit Jackson
photos: Anna Ehrenstein, Ladislav Zajac

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Current

Upcoming

2022

The Albanian Conference: Home Is Where The Hatred Is

, Anna Ehrenstein, feat. DNA, Fadescha, Rebecca-Pokua Korang
Nov 12, 2021 – Jan 28, 2022

Idea / Ideal

, Marco A. Castillo
Nov 12, 2021 – Jan 28, 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, Henrike Naumann, Mario Pfeifer, Michael E. Smith, Tobias Zielony
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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