Opening: Friday 22 April 2016 - 20:00
Peter Wächtler (1979, Hannover) illustrates, writes, makes sculptures and creates sound, animation and video art. Wächtler sets narrative techniques into play: his texts set the tone and function as a framework for his diverse body of work. The complex, fantastical storylines create an atmosphere filled with humor, satire and alienation, and his scenarios take the shape of book illustrations, simple animations, prose, voiceovers or storyboards. Wächtler plays with the language and imagery of pop culture, such as that typically encountered in bestsellers, page-turners, tearjerkers and blockbusters. He adapts these genres’ formal characteristics, while simultaneously undermining them in their initial educational, entertaining or empathic functions.
Wächtler’s stories are first-person narratives, but he never divulges whether and in what measure his characters are based on pure fiction, actual memories or everyday anecdotes. To a certain extent we can identify ourselves with the figures he so poetically gives life to. At the same time, however, their eccentricity, excessive liveliness and deadpan humor keep us at a safe distance. Their communication is limited and they feel vulnerable or undervalued. They behave obstructively, passively or outlandish.
Following the strategy of negation, Wächtler’s exhibition at KIOSK is entitled 9. For this installation he went in search of a unique way to occupy the exhibition space, a way that is not in the least concerned with adhering to current museological and architectural codes.
Peter Wächtler lives and works in Brussels and Berlin. He has exhibited solo at, among others, The Renaissance Society, Chicago (2016); Westfälischer Kunstverein, Münster (2014); Reena Spaulings, New York (2014); dépendance gallery, Brussels (2013); Kunstverein Hildesheim (2013); Ludlow 38, New York (2013); Kunsthalle Wien, Vienna (2013). Wächtler took part in recent group exhibitions such as: 2015 Triennial: Surround Audience, New Museum, New York (2015); the Liverpool Biennial (2014); Meanwhile…Suddenly and Then, Lyon Biennale (2013); Pride Goes Before a Fall – Beware of a Holy Whore, Artists Space, New York (2013); Un-Scene II, Wiels, Brussels (2012); Melanchotopia, Witte de With, Center for Contemporary Art, Rotterdam (2011). Sternberg Press published a collection of Wächtler’s texts in 2013, entitled Come On.
Daniel Dewar & Grégory Gicquel
Opening: Friday 12 February 2016 - 16:15
At KIOSK, British-French artist duo Daniel Dewar and Grégory Gicquel bring together several new series of sculptures under the title Digitalis.
In their sculptural practice, the artists use a wide array of techniques, including woodcarving, weaving, ceramics and stone dressing. They employ this autodidactic knowledge of traditional methods of production in the creation of unique, handcrafted objects. This means that a sculpture on display is often the result of a long and labour-intensive process in which the material is carefully selected, researched and manipulated.
This is also the case for the sculptures that are created for Digitalis. The exhibition’s title uses the botanical name for foxgloves; ‘digitalis’ meaning ‘of the finger’, a reference to the flower’s shape. Both the title and the works on display are concerned with the concept of the touch, or stroke; in the shape of a unique fingerprint or as a digital, serial gesture. The purple Digitalis flower, for instance, reappears as a floral motif in the details of a new series of benches hand-made by the artists from cypress wood. The cushions for the seats are adorned with digital embroidery.
Dewar and Gicquel’s choice for obsolete manual techniques should not, however, be interpreted as a nostalgic reflex concerning forgotten traditions, or as a critical stand on standardization and uniformity in an industrialized world. Techniques and media are not a work’s final goals. On the contrary, most often they function as starting points for an investigation of the narrative potential, as references for the subject to freely revolve around.
The diminished relevance or anachronistic nature of, in this case, embroidery and the use of a chisel and mechanic wood cutter is seen by the artists themselves as sculptural surplus value. A block of wood starts with the potential to take on any narrative and sculptural form, but it is simultaneously inherent in the creative process that this starting material will only lead to a single sculptural ‘appearance’. Dewar and Gicquel take great pleasure in the journey towards this appearance, in manipulating techniques or setting a particular material in motion and, curiously yet patiently, watching the emergence of a sculptural image. Their take on traditional techniques does not require the rules to be followed strictly; no, new rules are invented along the way. This idea is strikingly embodied in the sofa-pieces: they do not function as perfectly finished practical objects, but as a series of unique sculptures with delicate nuances in material, colour, and size.
Opening: Friday 27 November 2015 - 20:00
Crumbling Down the Circle of My Iconoclasm
KIOSK presents two new exhibitions with works by Belgian artists Miet Warlop (1978) and Nel Aerts (1987). Both artists create universes that, in various guises and with different media, leave an immediate, poetic impression. Once immersed in them, the visitor will smile and grin at their ambiguous image worlds, before being left, moved and deserted.
Miet Warlop creates performances, actions and public interventions that stand midway between absurdist theatre and autonomous ‘tableaux vivants’. Warlop creates a visual language in between theatre, dance, and exhibition and freely plays these disciplines off against each other.
Titled Crumbling Down the Circle of My Iconoclasm, Warlop’s show at KIOSK presents an installation in which smaller spatial arrangements of objects, props, gestures and performers interact and set out an ever-changing choreography within an exhibition’s set chronology. Like a contemporary iconoclast, Warlop takes over the dome room to visualize her interpretation of the Greek notions of eikon (representation) and klastès (breaker): a process of simultaneous creation and destruction.
In Warlop’s visual universe, all elements are interconnected in an infinitely spinning loop of references that may take the form of a scratch on a record, a plaster cymbal, or a skirt-shaped object rolling in circles on the floor. The different objects are activated during brief interventions, unannounced temporary sculptural installations. The appearance of a new image inevitably coincides with the disappearance or crumbling of other images. Every action or movement adds a visual or auditory mark to the overall picture, resonating through and with the dome room.
Opening: Friday 27 November 2015 - 20:00
KIOSK presents two new exhibitions with works by Belgian artists Nel Aerts (1987) and Miet Warlop (1978). Both artists create universes that, in various guises and with different media, leave an immediate, poetic impression. Once immersed in them, the visitor will smile and grin at their ambiguous image worlds, before being left, moved and deserted.
Nel Aerts also freely and intuitively moves between different media such as painting, drawing, collage, performance, and sculpture. Over the last couple of years, a growing focus on the portrait can be discerned in her work, resulting on works on paper and wooden panels.
For the occasion of her show Billenkoek, Aerts has assembled a new, motley crowd of abstracted, posing subjects and characters that refer to popular culture, her immediate everyday surroundings and the artist herself. The (self) portraits are tragicomic in the contrasts they evoke. They can be sad or funny, extraverted or inward-looking, deliberately or playfully crawled out of the wood or arisen from the imagination as a drawing, but invariably they are introspective and unassuming.
A selection of older and new paintings, and a new series of about sixty drawings interact with the KIOSK spaces in a number of installation interventions. The impression one gets is that of a portrait gallery with walls, windows, and floor covered with autonomous pieces, making the drawn space and the exhibition space flow into each other.
Opening: Friday 18 September 2015 - 08:58
I Stand Like a Mirror Before You
I Stand Like a Mirror Before You is the first Belgian solo exhibition by Leonor Antunes. For the occasion, the artist, who was born in Portugal and currently resides in Berlin, has created an installation that takes in the entire KIOSK space and incorporates a number of new works.
Antunes’ site-specific sculptures echo both their immediate surroundings and the history of 20th-century architecture, art, and design. The artist’s interest in traditional craftsmanship is revealed in her use of natural materials such as wood, bamboo, leather, copper and rope.
At KIOSK, these materials are converted into freestanding, spatial demarcations, or knotted and folded according to traditional techniques into hanging net and grid structures. The works’ forms and techniques are informed by the visual languages of Swedish furniture designer Greta Grossman and American filmmaker and choreographer Maya Deren. Other sources of inspiration are the weavings of textile artists such as Anni Albers and Lenore Tawney. Antunes unravels the principles of construction underlying their rational designs and makes an abstraction of reality. In the course of this manual creative process, a reduced, personalized form emerges which she places in front of the viewer like a mirror.
Once the artist has fathomed and shaped a material’s physical and aesthetic qualities, its particular cultural history and that of its makers, she relates this material to the exhibition space. The space’s dimensions and proportions are brought into consideration to come to a composition that balances between a deliberately ordered pattern and a random tangle of textures, structures and surfaces, between hiding and revealing.
I Stand Like a Mirror Before You examines human interaction with spaces and surfaces. The seemingly carelessly sagging textiles attempt to assimilate to their surroundings. The works’ surfaces are mat, reflective or transparent, and mirror each other. Together, they sketch out a choreography of an infinite number of possible passages and vistas. In this web and/or grid-shaped installation, we are not presented with a single path to follow, not shown a clear reflection in the mirror.
The exhibition I Stand Like a Mirror Before You was realized in cooperation with the New Museum, New York, where a different version of it was on view earlier (24.06.2015 – 06.09.2015).
Leonor Antunes’ most recent solo exhibitions were presented at Pérez Art Museum Miami (2014), Kunsthalle Basel (2013), Musée d’Art Moderne de la Ville de Paris (2013), and Kunstverein Harburger Bahnhof, Hamburg (2012). Her work has also been included in a number of international group exhibitions, including the 12th Sharjah Biennial, UAE (2015), and the 8th Berlin Biennial (2014), and has recently been exhibited in venues such as the Bronx Museum of the Arts, New York (2014), Kunsthalle Wien, Vienna (2014), CNEAI, Chatou, France (2013), and MIT List Visual Arts Center, Cambridge (2012). Antunes will be the subject of solo exhibitions at CAPC musée d’art contemporain de Bordeaux (2015), Tensta konsthall, Stockholm (2016), San Francisco Museum of Modern Art (2016), and Museo Tamayo, Mexico City (2017).
Opening: Saturday 25 April 2015 - 20:00
Front (Kareth Schaffer)
With Front (Kareth Schaffer), KIOSK presents the first Belgian solo show by Danish artist Christian Falsnaes (1980, Copenhagen; currently based in Berlin).
Performance is at the heart of Falsnaes’ work: his actions are presented live or filmed, with or without an audience, and with man as study object and material. To Falsnaes, performance is the medium most closely approaching the Gesamtkunstwerk, as it can incorporate any other medium and is presented live. The artist employs a multitude of visual forms, including painting, video, music and dance, to develop theatrical, often absurd situations with the active participation of the audience. Recurrent themes are the relations between the individual and the group, and those between the artist and his audience.
Falsnaes engages in a thorough, physical exploration of a wide range of issues of social codes, group dynamics, power relations, authorship, gender roles and more. One of the forms this exploration has crystallized in, are the series of unannounced performances in which the artist directed the audience in several roles: from didactic artist to actor, from authoritarian leader to entertainer, clown, hooligan, and outcast. Increasingly, however, Falsnaes develops performative formats in which he himself is not physically present, making use of an interactive app, telephone connection, or stand-in. In other instances, he examines how the particular situation of a performance may facilitate the creation of a video piece. The video does not function as a documentation of the action then, but as an autonomous piece that is realized with the help of a script and camera team.
In line with these recent developments, Falsnaes’ exhibition at KIOSK, Front (Kareth Schaffer) will also materialize gradually: he will present three performance pieces in which existing actions are reinterpreted, thus creating new work on the spot. People will be asked to perform scripts written by the artist, focusing on issues of authorship, participation, and the artist’s identity. The interactive installation The Title Is Your Name will open up the performative potential of looking at art, and will generate a series of new, online video pieces.
On the occasion of his recent nomination for the Preis der Nationalgalerie, Christian Falsnaes will exhibit at the Hamburger Bahnhof, Berlin in Fall 2015. Until May 3rd of this year, his solo show Available can be seen at Kunstverein Braunschweig. Recently, he has also had solo exhibitions at Bielefelder Kunstverein, Bielefeld (2015); PSM, Berlin (2014); Art Basel Statements, Art 45 Basel (2014); KW Institute of Contemporary Art, Berlin (2013); and DREI, Cologne (2013).
The exhibition was organized in collaboration with Bielefelder Kunstverein.
Opening: Friday 13 February 2015 - 20:00
A group exhibition on the occasion of 5 years of KIOSK. PROLONGED UNTIL APRIL 12TH, 2015!
In celebration of the 5th anniversary of KIOSK, we present the group show Vibrant Matter. The great importance of the materiality of an object or work of art for the artist has been a recurrent topic throughout KIOSK’s trajectory. Vibrant Matter brings together different ‘material’ approaches, in a group show that features both artists who exhibited with us before, and new names.
The fascination for the concept of ‘materiality’ seems at odds with the prevailing economic tendency for hiding the physical processes of production from our view. Our contemporary Western post-industrial society is dominated by digital technology and keeps evolving towards an exclusively knowledge-based economy. The remaining production activities are moved to industrial areas set apart from residential neighbourhoods, or to faraway low-wage countries. This has undeniable effects on our relationship with matter: we alienate from what we eat, wear, or live in, as we do from the awareness of what is authentic and what is manipulated, what is real and what is virtual.
The artists in this show share a similar artistic awareness of the process of dematerialization: they counter standardized industrial production with a personalized language in which the main concern is the search for the essence of form and matter. In Vibrant Matter, the artists, in their very individual ways, all use a minimum of material to attain a multi-layered evocative power. The starting point can be a basic industrial typology, a traditional craft, or an improvisatory merging of personal and external influences. Regardless of whether the ensuing manipulation of the material happens in a manual or in an industrial process, whether the results are temporary, unique, or serial, in each instance the material is used for its own sake. This results in ‘poor’, often radically austere work.
Here indeed lies the essence of Vibrant Matter, an exhibition that seeks to stage a direct, vibrant confrontation through a series of sense-provoking paintings, sculptures, objects, and installations. Through their relation with the other objects, and with the architectural givens of the gallery space, the individual works must assert their own validity. And just like these individual works, the show as a whole hopes to establish a subjective understanding of the primary interconnectedness of matter and man.
Katinka Bock, Edith Dekyndt, Thea Djordjadze, Matias Faldbakken, Karsten Födinger, Camilla Løw, Valérie Mannaerts, Benoit Platéus, Eva Rothschild, Analia Saban, Kato Six
Opening: Friday 28 November 2014 - 20:00
KIOSK presents a duo exhibition with work by German artist Katinka Bock (1976) and Dutch artist Katja Mater (1979).
Both artists explore the boundaries of their medium in explorations of the possibilities and impossibilities inherent in their materials. The reflective process that characterizes their work starts with an observation of the exhibition context and a contemplation of the potential dialogue between the medium and the environment. Bock and Mater both work toward ‘outcomes’ that carry a transformative potential. Katinka Bock is mainly focused on the sculptural form, while Mater’s work primarily consists of analogue photographic or cinematographic registrations of intermediate interventions.
Katinka Bock’s sculptures and installations consist of natural materials such as clay, wood, sand, water and bronze, as well as everyday objects like chairs or lemons. These materials are selected for their colour, qualities, and primary energy. Their intrinsic characteristics are considered in relation to the historical and architectural foundations of the space and to the objects in their constellation, and are translated into sculptures that often display a radical austerity.
For her show Nebenwege at KIOSK, Bock combines existing objects with a new work in progress in which she uses changeable materials like water, salt, textile and a sheet of copper to create a fluid result that escapes complete control and only reveals itself fully at the very end of the exhibition.
Opening: Friday 28 November 2014 - 20:00
Fields on a Line
KIOSK presents a duo exhibition with work by Dutch artist Katja Mater (1979) and German artist Katinka Bock (1976).
Both artists explore the boundaries of their medium in explorations of the possibilities and impossibilities inherent in their materials. The reflective process that characterizes their work starts with an observation of the exhibition context and a contemplation of the potential dialogue between the medium and the environment. Mater and Bock both work toward ‘outcomes’ that carry a transformative potential. Katinka Bock is mainly focused on the sculptural form, while Mater’s work primarily consists of analogue photographic or cinematographic registrations of intermediate interventions.
Katja Mater creates abstract geometric compositions on paper, on objects, or directly onto a spatial context. The compositions are captured by means of a deliberate set of rules that provide a sense of direction in Mater’s boundless exploration of the tension between the two-dimensional and the three-dimensional.
At KIOSK, Mater uses the exhibition walls and floor surface as a canvas for the site-specific composition Fields on a Line. The realization of the painted work is captured by a camera that repeatedly travels a predetermined path throughout the rooms. Different moments are thus layered in time, and parallel spaces unfold in front of the lens. The track covered by the camera eye and the added timeline that emerges in the process, are transposed and visualized on multiply exposed film. The result is a 16mm video installation with the exhibition space as a residue.
Opening: Friday 19 September 2014 - 11:03
The work of Runa Islam (1970, Bangladesh, lives and works in London) is known for looking outside a given frame of view in its nuanced enquiry into matters of perception and representation. She often combines a conceptual and experimental approach, transforming, disrupting and enhancing existing visual mechanisms.
For the solo show ‘Anatomical Study’ presented at KIOSK, Islam explores new methods of working whilst reflecting upon the rapidly changing climate of moving image technologies and finds a way to reconsider and essentialise the materials of the film medium beyond issues of obsolescence.
Engaging with the original function of the KIOSK space as a didactic anatomical theatre, Islam presents two existing works titled ‘Anatomical Study I’, a 16mm film and ‘Anatomical Study II’, a sculpture. Alongside these works a new series of sculptures and drawings have been made using the meaning and methods of such studies. In place of traditional cinematographic images, Islam dissects their innate qualities in their finest particulate detail. For example, considering the process of film as akin to a functioning body, Islam has created the sculptures solely from silver retrieved from exposed film stock (one of few physical residues that remain from film’s fleeting succession of images). In a type of alchemical transfiguration old bodies yield new forms.
The ‘raw’ film-silver, is presented as a stock of bars. In addition, several everyday items found in the working environment of Islam’s studio, among which a number of old pencils and an orchid plant, are the subject of the new sculptures made from this stock. Promoting endless permutations, Islam further instrumentalises the cast pencils to create a set of silverpoint drawings. Notably, silverpoint was a drawing technique favoured during the early Renaissance. The images vary from architectural details at KIOSK to references to eighteenth-century anatomical wax models and self-reflexive drawings of the pencils themselves.
Alongside Islam’s works, a group of nineteenth-century hand-made wax orchids from the collection at Kew Gardens, London are displayed. These artefacts were commissioned as teaching aids in an era prior to photography, much like the anatomical wax models of the same era. Considering a pre-photographic era underscores Islam’s experiments at KIOSK. Her inquisitive investigations into form shifting – back and forth from image to object, (between two-dimensional representation and three-dimensional presentation), open up questions about how artistic expression grapples with formal constraints, as through the meticulous cutting and combining of separate fragments, Islam creates a narrative to fit the exhibition space.