Altered States. Substances in Contemporary Art March 4 th until May 21 st 2018 Opening: Saturday, March 3rd at 7 p.m. Press Conference: Thursday, March 1st at 11 a.m. People have always consumed substances for other purposes than nutrition – for medical reasons, for ecstasy, to expand their consciousness, in religious rituals, for selfoptimization, out of protest or boredom. The omnipresence of substances and the consequences of their handling within society currently inspire heated debates on a global scale - from the opioid crisis in the USA to the failure of the "war on drugs," from the proclamation of a psychedelic renaissance to the LGBTQI community's struggle for legal access to hormones. The contexts in which substances are being consumed determine their societal meaning. But they change over time and substances can migrate from one category to another. The differentiation of substances as pharmaceuticals, drugs, hormones or doping agents does not seem to stem from the effects or dangers they have for individuals or society. It roots deep in a social history that was shaped by questions of race, gender, class and economic interests. As an inheritance of the 19th and 20th century the discourse is still heavily driven by power structures and taboos. The omnipresence of substances in our everyday life demands a revision of the societal view on them. The international group exhibition at Kunstpalais features artists who approach the topic in a variety of media. From photography, video, and sculpture to installation and performance the discursive field covers a wide range. It asks questions about effects and potentials of different substances, the correlation of their distribution and the marginalization of minorities, economic interests and highly profitable black markets. Ultimately it deals with the relation between individual freedom and collective responsibility, with biopolitics and criticizes (hetero-)normative concepts. The exhibition scrutinizes the societal view on substances and examines global consequences as well as future potentials. Featuring: Daniel García Andújar, Cassils, Rodney Graham, Sidsel Meineche Hansen, Carsten Höller, Joachim Koester, Mary Maggic, Joanna Rajkowska, Thomas Rentmeister, Marten Schech, Jeremy Shaw und Suzanne Treister
Funded by the German Federal Cultural Foundation
Interdisciplinary Conference: Altered States. Substances in Society, Science and Art The topic of substances is a broad discursive field and genuinely interdisciplinary. Therefore, the Kunstpalais will host a conference on April 21st and 22nd 2018 with lectures from the fields of Bioethics, Art History, Neuro Science, Law and Sexology. Catalogue The exhibition will be accompanied by an extensive catalogue with texts by Milena Mercer, Malte Kröger und Max Daly, author and journalist for VICE, artist interviews and an additional conference proceedings.
Kunstpalais Stadt Erlangen Palais Stutterheim Marktplatz 1 91054 Erlangen Di–So 10:00 – 18:00 Uhr Mi 10:00 – 20:00 Uhr 4,00 €, 2,00 € (erm.) www.kunstpalais.de http://kunstpalais.wordpress.com/ http://twitter.com/@kunstpalais http://facebook.com/kunstpalais
Curator: Milena Mercer, Acting Director of Kunstpalais Curatorial Assistant: Malte Kröger, Scientific Trainee Press contact: Malte Kröger
[email protected] Tel. 09131/86-1626
Daniel García Andújar (Spain) 2017 documenta 14, Athen/Kassel 2015 Württembergischer Kunstverein, Stuttgart 2012 transmediale.12, Berlin 2009 53rd Venice Biennale 2002 Manifesta 4, Frankfurt am Main
El Capital. The Commodity. The Drug, 2015, 514 digital color prints, each 11 x 15 cm, Copyright and Courtesy the artist Installation shot: Kilian Reil
Cassils (Canada) 2017 National Gallery of the Republic of Macedonia, Skopje, Mazedonien 2016 LWL-Museum für Kunst und Kultur, Münster 2015 Deutsches Historisches Museum, Berlin 2014 MU Art Space, Eindhoven, Niederlande
Fast Twitch// Slow Twitch, 2011, videostills, 2-channel video installation, 11:09 min., Courtesy the artist and Ronald Feldman Gallery, New York
Fast Twitch// Slow Twitch, 2011, 2-channel video installation, 11:09 min., Courtesy the artist and Ronald Feldman Gallery, New York, photo: Kilian Reil
Rodney Graham (Canada) 2017 Museum Frieder Burda, Baden-Baden 2016 Museum Folkwang, Essen 2015 Sammlung Goetz, Munich 2013 Hamburger Bahnhof, Berlin 2012 Palais de Tokyo, Paris
Phonokinétoscope, 2001, filmstills, modified turntable, 33 rpm vinyl-LP, speakers, film projector, 16mm color film, FNAC 03-954 (1 à 2), Centre national des arts plastiques © Rodney Graham / CNAP / photo: Florian Kleinefenn
Phonokinétoscope, 2001, modified turntable, 33 rpm vinyl-LP, speakers, film projector, 16mm color film, FNAC 03-954 (1 à 2), Centre national des arts plastiques © Rodney Graham / CNAP / photo: Kilian Reil
Sidsel Meineche Hansen (Denmark) 2016 Trondheim Kunstmuseum 2015 Künstlerhaus Bremen 2014 Astrup Fearnley Museet for Moderne Kunst, Oslo 2013 Gasworks, London
Proud to be your own boss, proud to be busy, 2014, Installation consisting of: Seroquel®, HD-video and CGI animation, 8:04 min., IKEA bed frame, mattress, and cover, Courtesy the artist and Rodeo, London
Carsten Höller (Belgium) 2015 56th Venice Biennale 2014 Gagosian Gallery, Frieze 2014, London 2013 Sharjah Biennale, Sharjah, UAE 2010 Hamburger Bahnhof, Berlin 2009 Centre Pompidou, Paris
Pill Clock, 2015, gelatine capsules, placebo, mechanical drop mechanism, control unit, wooden box, water dispenser, dimensions variable, Courtesy the artist and Air de Paris, Paris, © VG Bild-Kunst, Bonn 2018 Installation shots: Kilian Reil
Joachim Koester (Denmark) 2016 Gagosian Gallery, Beverly Hills 2015 Greene Naftali, NYC 2014 Centre Pompidou, Paris 2008 Musée Départemental d'Art Contemporain de Rochechouart 1997 documenta X, Kassel
The Morning of the Magicians, 2005, here: Room of Nightmares, photographic series consisting of 10 C-prints, each 47,5 x 60 cm, Copyright and Courtesy the artist and Galleri Nicolai Wallner, Copenhagen
Mary Maggic (USA) 2017 Haus der Kulturen der Welt, Berlin 2016 Medialab-Prado, Madrid 2014 Langgeng Art Foundation (LAF), Yogyakarta
Estrofem! Lab, 2016, multimedia, hormones, urine, dimensions variable, Copyright and Courtesy the artist
Estrofem! Lab, 2016, multimedia, hormones, urine, dimensions variable, Copyright and Courtesy the artist, photo: Kilian Reil
Joanna Rajkowska (Poland) 2017 Museum of Modern Art, Warsaw 2016 Berlin Art Week, Berlin 2015 Cité International des Arts, Paris 2014 Zacheta National Gallery, Warsaw 2011 daadgalerie, Berlin
From the series Painkillers II, 2015, life-size casts, powdered analgesic, polyurethane resin, dimensions variable, Copyright and Courtesy the artist and Żak|Branicka & l'étrangère, London
Thomas Rentmeister (Germany) 2017 Museum Angewandte Kunst, Frankfurt a. M., 2016 Museum Tinguely, Basel 2015 Skulpturenmuseum Glaskasten Marl 2014 Kunstmuseum Bonn 2013 Kunsthalle Mannheim
untitled, 2007, sugar, shopping cart, dimensions variable (ca. 102 x 545 x 485 cm), installation view Haus am Waldsee, Berlin, 2007, © VG Bild-Kunst, Bonn 2018, photo: Bernd Borchardt
Marten Schech (Germany) 2017 Caspar-David-Friedrich-Zentrum Greifswald; Hans Körnig Museum, Dresden; Europäisches Zentrum der Künste Hellerau; Kunstverein Familie Montez, Frankfurt a. M. 2016 Museum für zeitgenössische Kunst (MWW), Wroclaw 2015 I'Amour, Paris
Godzilla Crack (working title), 2018, construction materials, grid, tar, dimensions variable
Jeremy Shaw (Canada) 2017 5th Venice Biennale 2016 König Galerie, Berlin 2011 Museum of Modern Art, NYC 2010 Kunstverein Wolfsburg 2009 Kunsthaus Baselland, Muttenz
DMT, 2004, 8-channel video installation, between 6:34 and 20:12 min., dimensions variable, Courtesy the artist and KÖNIG GALERIE
Introduction to The Memory Personality, 2012, 1-channel video installation with original soundtrack, 12:10 min., dimensions variable, Courtesy the artist and KÖNIG GALERIE
Suzanne Treister (UK) 2017 Haus der Kulturen der Welt, Berlin 2015 Centre Pompidou, Paris 2007 Tate Britain, London 2006 CHELSEA space, London 2000 Museum of Art, Busan
From the series HFT The Gardener, 2014-15, here: Botanical Prints, archival giclée prints on Hahnemühle paper, each 29.7 x 42 cm, Courtesy the artist, Annely Juda Fine Art, London and P.P.O.W., New York
HFT The Gardener, 2014-15, here: Botanical Prints, archival giclée prints on Hahnemühle paper, each 29.7 x 42 cm, Courtesy the artist, Annely Juda Fine Art, London and P.P.O.W., New York, photo: Kilian Reil
