Sorry I’m Late. XOXO Echo (Cologne, DE)
23.11. – 19.12.2018
Der Alltag (Sensationen des Gewöhnlichen), Andrea Büttner, Nicolas Buzzi, Brice Dellsperger, Maya Deren, Ayasha Guerin, Flavio Merlo & Ben Rosenthal, Eva Meyer & Eran Schaerf, Carissa Rodriguez, Li Tavor, Miriam Yammad, Constantina Zavitsanos
Upon the invitation of the Kölnischer Kunstverein, Sorry I’m Late. XOXO Echo has been organized—an exhibition on the constitution and interpretation of spaces and their conditions.
Image from: Der Alltag (Die Sensationen des Gewöhnlichen), No 4/82, Thema: Warten!
Nicolas Buzzi & Li Tavor, Sorry I’m Late. XOXO Echo
Early in 2015, the art space Taylor Macklin moved to a new location in Schwamendingen, Zurich. The first exhibition in this new space was an algorithmic sound-installation by Nicolas Buzzi and Li Tavor titled Sorry I’m Late. XOXO Echo. This title reverberates in the title of this present exhibition Sorry I’m Late. XOXO Echo in Cologne.
Miriam Yammad, Self-portrait, 2008 – 2018, 6 digital prints, each 23,2 cm × 27,7 cm
For the on-going series Self-Portrait, Miriam Yammad photographs people in public whose faces she believes show features of herself. Without photographing her own face, she thereby collects images of herself.
Andrea Büttner, Hand, 2015, glass painting on pink coloured, hand-blown glass, 54 cm × 42,3 cm
A hand with an extended thumb and pointer-finger is painted on hand-blown, coloured glass. The transparency of the materials allows a view out onto Cologne’s city-scape.
Miriam Yammad, Self-portrait
Maya Deren, Private Life of a Cat, 1947, digitalized 16-mm-Film, b/w, silent, 22 Min.
The film shows the life of a house cat who gives birth to a litter of kittens. The camera follows the cat as she searches the house for the right, intimate space to give birth and eventually raise her offspring.
Carissa Rodriguez, The Girls, 1997 – 2018, digitalized Hi8 Video, 37:30 Min.
When Carissa Rodriguez moved to Chinatown in New York City in 1997, she filmed hours of Hi8 material of young girls playing in a neighbourhood park. She digitalized and edited the material in 2018 into a 37:30 minute-long film.
Andrea Büttner, Untitled (Bench), 2012, wood, plastic crates, handwoven back-rests, each ca. 200 cm × 40 cm × 47 cm
The benches Untitled (Bench) are placed throughout the exhibition to provide a calm way to perceive the other works along with the interior and exterior spaces. The back-rests become images behind the seated.
Ayasha Guerin, Politics and Space, workshop on Friday, November 23rd, 2018, 3 – 5 pm
In the workshop Politics and Space, Ayasha Guerin will invite the participants by means of social and communicative methods, and with the help of possible scenarios—i.e. Shared Socioeconomic Pathway Narratives—to create collaborative spaces for interventions in our imaginary future.
Der Alltag (Die Sensationen des Gewöhnlichen), engl.: the everyday life (the sensations of the ordinary) was a radical magazine founded by Walter Keller and Nikolaus Wyss. It was published in Zurich every three months from 1978 – 1984, and was dedicated to the everyday life. Each issue had a specific topic and contained edited texts as well as unaltered manuscripts from the readership.
Brice Dellsperger, BODY DOUBLE 32, 2017, 2k Film, after Carrie (Brian De Palma), 11:05 Min.
In the series BODY DOUBLE, since 1995 Brice Dellsperger recreates scenes from Hollywood films. In BODY DOUBLE 32, he re-enacts a section from the American horror movie, Carrie from Brian De Palma (1976).
Miriam Yammad, Self-portrait
Flavio Merlo & Ben Rosenthal, ,2016 and 2018, linear motor, wood, felt, gypsum fiberboard, electronics, paint, dimensions variable. A linear motor moves a piece of fiberboard back and forth at regular intervals. The construction was not conceived for a particular site and could also be installed on other walls.
Eva Meyer & Eran Schaerf, Flashforward, 2004, audio play, 55:37 Min.
In Flashforward, Eva Meyer and Eran Schaerf discuss an order of listening. The play begins with a misunderstanding through which possibilities fall onto the past. Thus flashbacks become flashforwards.
Miriam Yammad, Self-portrait
Constantina Zavitsanos, Silueta (XVI), 2012 und 2018, wood, mirror, rope, 106 cm x 106 cm x 280 cm
In an average body sized shaft a mirror is placed on the floor with a rope leading to the ceiling, creating the optical illusion of a possible escape through the floor to a story below.
The exhibition overlays with the installation Absorption, 2018 by Marte Eknæs, which is curated by Kölnischer Kunstverein and partially depicted in the photographs above.