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eiskellerforschungen · 8 years ago

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Gesellschaft für zeitgenössische Konzepte e.V. Society for Contemporary Concepts e.V. (Art association, Kiel) In Collaboration with Anka Landtau / Weltkunst Angeln e.V. July 2 - September 3, 2017 7 Walks in the Woods - Group Exhibition With Anja Jensen (Hamburg), Anka Landtau (Struxdorf), Linda Lammert Lildholdt (Denmark), Alexander Pröpster (Hamburg), Sabine Linse (Berlin) Clement Price- Thomas (New York) and Katja Grüneberg-Wehner (Kiel), Jutta Kneisel (Kiel) If it is true that historical monuments are the "Energy Reserves of Cultural Memory" (Aby Warburg), it is all the more urgent, specifically in rural areas, that these cultural monuments which are disappearing should be preserved.

Ice Houses are witnesses of climate change. They preserve a piece of cultural history. Since 2013, the Society for Contemporary Concepts (GFZK, Kunstverein, Kiel, since 2013) has been researching ice houses in Schleswig-Holstein together with international artists. Specific interventions, explorations, reconstructions and mapping were carried out in the ice cellar, in the glacial landscape and with the material ice. Stefan A. Lütgerts book "Eiskeller, Eiswerke und Kühlhäuser in Schleswig-Holstein and Hamburg" (Husum, 2000) has formed the core scientific research for the ice house project. A few of the ice cellars documented in the book have been preserved by their owners at their own expense. Many ice houses have disappeared, lost forever, whereas others may still lay hidden or neglected somewhere waiting to be found, with the help of further research and background information.

Archeology in Contemporary Art

Artistic research as archeology: the exhibition publication "Arkhaiologica - Archeology in Contemporary Art", CenterPasquArt, Biel / Bienne, 2011) investigates the interrelationship between science and art. It conducts works by artists such as Mark Dion, Sophie Calles, Richard Long, Daniel Richter & Jonathan Meese, Daniel Spoerri, to identify the working methods of contemporary art working in conjunction with archeology.

The group exhibition "7 Walks in the Woods" takes a potential ice house in the Rabenholzer Forest as a starting point for artistic “Evidence Preservation” (Günter Metken, Spurensicherung – Eine Revision, 1996). The Rabenholzer Forest is located in the glacial landscape of Angeln (Schleswig-Holstein). Until 1850 ice was harvested here. Time has altered this region as it has undergone fundamental changes in its landscape due to the influences of glacial activity which are still visible today. Also the Rabenholzer Lake was ineffectively drained in order to make the land productive for growing crops. The lake is no longer here but the cultural form that has remained is a marshland wet area instead. Since April 2016 the study of historical maps of the original landscape (an idyllic ensemble of natural lake and hilly woodland) has given a clearer impression of a potential ice-house. Since numerous historical ice-houses were filled with garbage during the 1980s, the finding of rubbish disposed of in the middle of Rabenholzer Forest tends to indicate good evidence that this is a former ice-house place. According to memories of the local population this invisible ice house really does exist. The exhibition titled "7 Walks in the Woods" refers to a lecture tour by Umberto Eco (titled: In the Forest of Fictions, Italian title: Sei passegiate nei boschi narrativi, Harvard UP, 1994). In six lectures, Umberto Eco follows the relationship between fiction, narrative and reality.

THE ARTISTS

Clement Price-Thomas (*Oxford, works in New York)

Clement Price Thomas (born 1971, Oxford, England) lives in New York and works in the field of installation and film. Price Thomas studied at the Camberwell College of Art in London and at Kingston University. His installations and sculptures were exhibited in Berlin, London and New York. In 2009 he received the "International Italian Art Prize Celeste, for Sculpture, Installation and Performance Art". Clement Price-Thomas became famous through the installation "The Guide" (the "breathing heap"), which was exhibited worldwide in the context of Adrian Goehler's exhibition "Imitation recommended!" The exhibition was communicated in the context of art, climate change and sustainability. The "breathing foliage" stirs up within the viewer the distinctive sense for living and artificial resurrection. A seemingly non-wilting pile of leaves rises and falls in a soft, rhythmic up and down movement. The illusion of unconscious breathing emerges, as can be observed in resting states, such as hibernating animals.

In the exhibition “7 Walks in the Woods” a videoloop of „The Guide“ is shown in a box floating on a thread with a small window. The presentation gives the film something very fragile, vulnerable and distant. The visitor has to look closely and it does not make clear whether it is a natural or artificial being that moves. Attention, caution and physical proximity are required by the observer. The surrounding installations interpret the video: Alexander Pröpster's work shows an abstract trace of animals in the forest - actually the search for his dog. Linda's Lammert Lildthold's hanging bodies are strange and at the same time naturalistic and are located between life and death. Sabines Linse's work shows buried people, who move like a miniature of the foliage with minimalism and intonate a canon. The installation of Anka Landtau shows a fountain with virgins, which refers to the undeciphered Voynich Manuscript, and has a connection with the non-wilting leaves, because the aging process is slowed down. Anja Jensen has imitated a fictional excavation site that has something unrealistic and magical about it. It originated in the place where the ice house once was. The white box in which the video of Clement Price-Thomas is shown is a sort of visible representation of the Ice House. If the visitor accidently touch the floating construction, a feeling of dizziness develops and the equilibrium seems to be disturbed. Within the entire exhibition, this aesthetic-physical perception and ist potential disturbance is of great importance. It gives the imagination an additional quality. In contrast to the "Ice Houses and Sky Holes", there is no opening to the sky. However, with the disappearance of the heavenly hole, a new fragile installation has been created that creates conditions for hanging the installations "invisibly" from the ceiling - and the objects that lie on the ground appear to hover. Two installation lines pass through the exhibition room: the decending bodies of Linda Lammert Lildholdt - and Anja Jensen's ascending ice house hill converge. They give the overall staging a balanced optical geometry which, in turn, reminds the inner structure of the Ice House. More information: http://s636154731.onlinehome.us/1and1demo/biography/

Alexander Pröpster (* 1983, lives and works in Hamburg)

Alexander Pröpster has developed a minimalist, yet emotionally highly charged, artistic character system that serves as a memory aid and reflection. At the starting point of his painting is a search for a trace, which refers to events from his personal world. Research results and finds are put into a new context and placed on the scene using a cryptic-looking form of vocabulary. Although his works are among the more silent and reserved, the combination painting, photography and topography produce an intense energy. They tell a story. A search for something that lies in the unknown and seems difficult to grasp. We meet a fox, a deer with shining eyes, a creeping badger and a rather silly hedgehog. What is the artist looking for? Some of his paintings stand for his obsession, something manic that drives him and the tenacity of seeking and also deal with the non-finding. His work is a documentation of the duration, the effort and the expression of the search. The artist has translated the fragments of this search into painting. Some works reveal a system, a kind of topography of traces and tracks. But they also tell of encounters and strange, remote beauty. His photographs cover the whole thing and the obsession in it a bit further. They testify to a sense of humor as a means of distance. A distancing from what you do. What is the real background? Alexander had a dog named Pavel. He ran away and the artist went to look for him. For two years. But his paintings do not tell this story. Rather, they translate his obsession, the strained, long-standing path into a complex, hermeneutically intensive work. In the tension field of documentation and fiction, a personal organization chart emerges that can only be checked for its coherence and not for its truth content. In a very impressive way, direct requests to the 34-year-old artist lead into a "forest of fictions". Regardless of the relationship between truth and fiction, the interrelation of research results and attempts to safeguard the viewer and invites the viewer to clarify the sensitive interrelationship between art, reality, and fiction. Alexander Pröpster studied at the Academy of Fine Arts in Hamburg (HfBK). He is part of the Künstlerhaus Vorwerkstift and received a few awards for his work, like the Hiscox Kunstpreis 2015.

Anja Jensen (* 1966, Hamburg/ Münster)

Anja Jensen is known for her enigmatic photographic productions which at times appear edgy and uneasy. Their 'Cultural Mappings' are technically sophisticated and politically explosive. She studied at the Kunstakademie Münster with Ulrich Erben (master student). Since 1994, Jensen has participated in numerous national and international exhibitions and is working in the "Documentary Style". Since 2001 she transforms the coming of darkness into a magical and mysterious world, through various forms of artificial light such as a film set. Often it is the natural ambiguous and strange atmosphere of a location from which Jensen initially bases her ideas upon. Like a field research situation, she creates a trust relationship with actors - her "experts for a particular place" - and is inspired by their life stories. For "7 Walks in the Woods" she has staged an excavation situation.

Some of her work has originated in North Germany, where Anja Jensen grew up. Her studies of the natural environment are often devoted to the landscape of the north. Here her documentaries, which are located between alchemy and fiction, succeed. Their photographic verifications, particularly in precarious places, combined with an elaborate picture composition, which is always valuable to the individual, characterize their unmistakable handwriting. Anja Jensen has received numerous prizes and scholarships for her artistic work, including the Märkische Stipendium für Bildende Kunst (2006). Individual exhibitions: Museum Art of the West Coast, Alkersum (2012), Museo de Arte Contemporanéo MAC, Santiago de Chile (2008). Important single presentations: Art Cologne (Förderkoje 2008), Soloprojekt Art Basel (2011). The Goethe Institute, in the context of the German-Year (Deutschlandjahr) for Mexico City has invited Anja Jensen in 2016/17 to make 3 photography projects. "CIUDADANOS" was the title of one the 3 projects. With the "Siete Cabronas" (24 November 2016 - 12 February 2017) at the German Pavilion in Mexico City she achieved a nationwide media presence. She is currently exhibiting at the Museo Archivo de la Fotografia (MAF) in Mexico City, the exhibition "Visto Bueno”. 1 city, 4 weeks, 200 perspectives on CDMX. Contribution in the ZEIT: http://www.zeit.de/hamburg/aktuell/2016-11/24/gesellschaft-hamburger-fotografin-neucht-in-mexikos-halbwelt-ein-24081005 Group exhibitions: Kunsthalle Münster (2012); Art Museum Wuhan, China (2009); Ludwig Forum for International Art, Aachen (2008); Santralistanbul, Istanbul (2008); Zhu Qizhan Art Museum Shanghai, China (2007); Culture and Arts Center, Incheon, South Korea (2007); Martin-Gropius-Bau Berlin (2005). Photo festivals: Cologne (2014), Prague (2010), Krakow (2007).

The lightbox has been supported by Elektro Lübke KG, Kiel. http://anjajensen.de

Linda Lammert Lildholdt (* 1947, lives in Helsingør, DK)

The artistic productions of Danish artist Linda Lammert Lildholdt, her material explorations, installations and paintings can be seen as “Preservation of Evidenceˮ (Günter Metken, Spurensicherung – Eine Revision. Texte 1977-1995, Amsterdam, 1996). The art historian Sophie Roke Clausen describes Lildholdt's works as "living beings which can not be kept apart" and her artistic works as "experimental alchemy". Linda Lammert Lildholdt worked very impressively with latex skins, which appeared to be exist between life and death. Her work is characterized by a sovereign treatment of the cipher of physical eroticism in the transformation process of time. Her sensitive track recordings are condensed into documentations of artistic re-animation. - Together with Anka Landtau, Marina Pagh, Karen Kitani Harsbo, and Marianne Thygesen, Linda Lammert Lildholdt participated in the Silkeborg Bad art exhibition at the group show "Sanatorium" (10.1.-3.5.2015). The exhibition focused on health and beauty under contemporary aspects. 29 Bodies of the 2015-exhibition are part of the shown „7 Walks in the Woods“. Biography: Linda Lammert Lildholdt studied in Århus, Copenhagen and Istanbul in the 1970s. Her works were in group exhibitions, among others, in Copenhagen, Aarhus, Helsinki, Humlebæk, Krakow, Brooklyn NY. http://www.lindalildholdt.dk/

Anka Landtau (* Ulsnis, lives and works in Struxdorf)

Anka Landtau (* 1952, Ulsnis) studied art, architecture, painting, ceramics, German literature, ethnology and Oriental studies in Kiel, Karlsruhe, Jerusalem and Sri Lanka. Since 1985 she lived and worked in Böklund in Schleswig-Holstein. Her studio combines a workshop with an exhibition hall which is just a few kilometers from Schloss Gottorf in Schleswig-Holstein. Anka Landtau is an artist who works with the social themes of climate change, public art, material and landscape explorations as well as selected gender questions. The conceptual approach to social stimulus themes, combined with the confrontation of the ice-age landscape, as well as the museum's construction at the interface between archeology and natural history, creates references for artists such as Joseph Beuys, Bob Brain and Mark Dion and links to the Fluxus- Movement. The artists' different artistic production methods are often accompanied by art tapestries. With the "Stream Walking" project in the landscape of ice age, Anka Landtau has created the basis for an aesthetic perception of art that goes far beyond what is visually visible: Anka Landtau places sculptures in the Belliger Au. The Süddeutsche-Zeitung reported on the project in spring 2016: Kunst im Kühlen, Evelyn Pschak http://www.sueddeutsche.de/reise/deutschland-kunst-im-kuehlen-1.2945124

Her research for the group exhibition has started with the Voynich Manuscript and covers many themes. These are ice age and ice age landscapes, water source landscapes, energy consumption, conversion and conservation and also scientific surveying / presumptuousness in project development.

Next Exhibition: The Voynich Manuscript Oktober, 15 – Decembre, 17, 2017 http://anka-landtau.de

Sabine Linse (* 1966 in Eckernförde, works in Berlin)

Sabine Linse was born in Eckernförde in 1966. She studied philosophy, anthropology and German language studies in Düsseldorf and Berlin, Freie Kunst in Berlin and Barcelona, and completed her art studies in Rebecca Horn. Her work is particularly linked to the scenic and literary sources of the North. Sabine Linse's video "Im Grünen" (2005) will be shown in the group exhibition, embedded in a installation concept of Anka Landtau und Verena Voigt. "A sunny idyll'': Summer clouds meander over a piece of meadow, the wind blows the bushes and grasses and allows the shadow pattern of a tree to dance through the picture. Two men and one woman sing the canon "Heho, spann den Wagen an". This could be a scene from a historic film..., but the singers are buried, with only their heads protruding from the grass. This gives the performance an ambivalence, which makes the viewer sway between amusement and bewilderment. The sight of these singing mushrooms is of course highly amusing or arouse disturbing images of scenes of torture. - Sabine Linse's film refrains from any explanation or preference for a particular interpretation. Therefore it is up to the viewer to use the inconspicuous variables in the song, the shadow play or to trace associations with clichés about the goodness of country life. Boosted with allusions and narrative possibilities, "In the Green" remains an extremely minimalistic work that stands out beyond time and logic from our imaginations during a midday sleep." (Text: Bettina Carl) Biography: Individual exhibitions (selection): Galerie Markus Richter, Potsdam (1998); Rampe 003, Berlin (2000); Museum of Photography, Braunschweig (2002); Friedmann Gallery and Project, Berlin (2007); Gallery of Contemporary Art, Kiel (2010); Society for Contemporary Concepts e.V., Eiskellerberg Gut Hemmelmark, Barkelsby (2015) Group exhibitions (selection): Casa de la Primera Impreta de América, Mexico City (2017); Rizoma, Museu do Estado do Pará, Belém, Brazil (2015); Fortress Rosenberg, Kronach / Lutherstadt (2015); COUNTRY / E / SCAPE Art Walks in Kalamata, Greece (2011); PROGR_centrum for cultural production, Berne (2009); Ucity Art Museum of Gafa, Guangzhou, China (2008); Goethe Institute, Toulouse (2008); Galerie HO, Marseille (2007); MAMA Showroom, Rotterdam (2006); Wendy Cooper Gallery, Chicago (2005); Sala Fundación Caixa Galicia, Santiago de Compostella 2000).

www.sabinelinse.de

Funding - Sponsors - Collaborations - Partner of the Project

Funding: The project is funded by the Ministry of Justice, Culture and Europe of the State of Schleswig-Holstein, the Cultural Foundation of the Schleswig-Flensburg County and the Weltkunst Angeln e.V. Organisation: The project is organized by Gesellschaft für zeitgenössische Konzepte e.V. (GFZK e.V.), Society for Contemporary Concepts e.V. (Art association, Kiel. Concept: Verena Voigt M.A. (Art Historian, Leader of the GFZK e.V.) Collaboration: The project was developed in close collaboration with Anka Landtau. Partner of the Project: The Research-Cluster "Human development in landscapes" (Graduate College, Christian Albrecht University, Kiel) is a partner of the project. Holistic archeological methods will be used to assist artists by integrating cultural & environmental considerations into their concepts. Katja Grüneberg-Wehner M.A., Institute for Prehistory and Early History, CAU Kiel and Dr. Jutta Kneisel, Johanna-Mestorf Akademy (Graduate School "Human Development in Landscapes"), Christian Albrechts-University Kiel accompany the project as archaeologists and "associated artists" ". Participation: More information will gathered from stories & memories of local residents about this particular area. Cultural Education Program: Barbara von Campe / Inga Momsen (Schleswig-Holsteinische Kulturerben / Heirs of Heritage e.V. i.G.) is responsible for the cultural education program of this project “7 Walks in the Woods”. She collaborates with selected, international artists. In Struxdorf she works together with the German-Danish School Boel-Struxdorf/ Bøl-Strukstrup Danske Skole. ">Von Eisheiligen und Kellergeistern (Video)

Opening hours: Saturdays 2 pm - 6 pm and by appointment: ++ 49 (0)163 191 16 69 M ++ 49 (0) 151 23 29 29 67 More information: www.facebook.com/eiskellerforschungen Photocredit: Installation view “7 Walks in the Woods”, (c) Anja Jensen

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