The Audio Walk by Diana Wesser is part of the project “Alle unsure Träume” (“All our dreams”) that is devoted to the social upheavals of 1989/90. Ironically, in the wasteland of decaying (or collapsing) East Leipzig, greenhouses of the Revolution arose. Young people conquer free spaces (Freiräume) in shared oppositional apartments (squatted) and parishes, disregard norms and mobilize the public. The upheaval of 1989/90 in East Leipzig between everyday frustrations and political commitment, between awakening and disillusionment .
The audiowalk follows the traces of the exhibition “Revolution and Change in East Leipzig ” out into the public space and leads to places of opposition, resistance and upheaval in the immediate neighbourhood of Pöge-Haus. The Audiowalk combines interviews with contemporary witness and rare original recordings from 1989.
Duration: 60 Minutes
14 October – 20 November
Wednesdays, Thursdays and Fridays, 15-10pm Clock at Café Neustadt On Saturdays 2-5 pm and Sundays 11am-2pm directly in the exhibition at Pöge house .
Part of the Project
Exhibition “Revolution und Wandel im Leipziger Osten“ (“Revolution and Change in East Leipzig ” ) at Pöge-Haus Wednesdays, Thursdays and Fridays: 5-8 pm (Audiowalk until 10pm), Saturdays 2-5 pm and Sundays 11am-2pm.
Pöge-Haus / Café Neustadt, Hedwigstr. 20, 04315 Leipzig
Oct 15 ► May I help you, or: What has this got to do with love? from artist collective VIP @ Galerie b2
For their latest exhibition the female artist collective VIP have invited friends and artists they regard to turn the space at Galerie b2 into a site of collective work, where VIP’s own process-oriented approach is merged with other artistic positions. The interaction between individual works and the mutual respect and appreciation of their colleagues are a central motif of the group exhibition. With a seductive wink they ask:
May I help you, or: what has this got to do with love?
The group exhibition combines six artistic positions, all of which, as heterogenous as the methods and realisations may be, are characterised by a shared tragicomic appeal. A series of life-sized photographs by Berlin based artist Katja Stoye-Cetin show two people in situations marked by a peculiar sense of displacement. Captured at tipping point, the figures in the pictures become formalised vessels of abstract identities. Artists Uta Zeidler and Alexandra Gaul, also based in Berlin, present scenes of nuanced comedy. Zeidler, who is adept in subtly hiding small truths in the great scale of her paintings, lures the viewer to take new perspectives through her precise and playful title choices. Alexandra Gaul will present some of her object installations; she alters what are often found pieces through minimal interventions, but with clear artistic determination. She thus transfers the original function and/or essence of an object into a new direction of her choice, without straying far from the path of self-deprecation. Gratefully, a smile appears on the face of the viewer.
Guido Reddersen, born in Jena and currently living in Leipzig, presents a site-specific work and adds a moment of self-reflection to the collective exhibition with a performative installation that can be read as a reaction to his invitation to participate. Lysann Buschbeck is present with a new visual work, shown for the first time at this exhibition. The seeming playfulness of her drawings is countered by an almost compulsory sense of determination, which reveals itself both formally as well as in the artist’s persistent scrutinisation of herself. The artistic abstraction makes the result a very impressive and pensive whole.
Finally, VIP present a sound installation. Whereas the members of the female artist collective usually appear as abstracted stand-ins in their works, they now for the first time leave the speaking part to someone else and let him pose a number of questions. The idea behind the exhibition at B2 is to treat it as a collective project, where self-deprecation, humour and ridicule go hand in glove with reflective and serious issues within and beyond the art world – such is the sophisticated aim of the artists for the show.
Oct 15 (lecture) – Oct 30 (film) – Nov 5 ► Cradle of Humankind # 3 by Arseny Zhilyaev @ KV – Verein für Zeitgenössische Kunst Leipzig
Kolonnadenstrasse 6, 04109 Leipzig
Arseny Zhilyaev depicts an unsettling image of a far off future in which humans have abandoned Earth, turning it into a museum-reservation called ‘The Cradle of Humankind’, dedicated to the origins of life and civilization. The reservation is part of a network of local museums commemorating historic figures and key events in the history of civilization on Earth, presenting artefacts from the past and merging the utopian aesthetics of the Soviet space programme with the ultimate idealism of Russian Cosmism. And, it is within the framework of this Utopia and Idealism that the museum also offers unique services, resurrecting client’s ancestors, therefore achieving the highest metaphysical aim.
In contemplating the museum as an institution from a future perspective, Zhilyaev investigates its ambivalent role in the formation and conservation of our ideas about the world and life within contemporary political and economical conditions, as well as its growing corporate prominence within the global system of interminable cycles of production and consumption.
Curator: Kristina Semenova
Supported by V-A-C Foundation Moscow, Kulturstiftung des Freistaates Sachsen, Kulturamt Leipzig.
15 Oct at 8 pm
Lecture by Dr. Michael Hagemeister: ‘Sterbliche aller Länder, vereinigt Euch!’ – Nikolaj Fedorov und der russische Kosmismus“ (in German)
30 Oct. At 8 pm
Film Screenings „Soviet Avantgarde and Cosmism“
Arseny Zhilyaev (born 1984 in Voronezh, Russia) is an artist who lives and works in Moscow and Voronezh. Using artistic, political, scientific, and museological histories to uncover and propose potential futures, Zhilyaev explores a productive space between fiction and non-fiction. Within his recent projects, the artist casts a revisionist lens on the heritage of soviet museology: Museum of Proletarian Culture. Industrialisation of Bohemia, Tretyakov State Gallery, Moscow, 2012; Pedagogical poem in collabration with Ilya Budraitskis and collective of the project, Presnya Historical Memorial Museum, V-a-c Foundation, Moscow,
2012; and M.I.R.: New paths to the objects, Kadist Art Foundation, Paris, 2014; M.I.R.: Polite Guests from the Future, Kadist Art Foundation, San Francisco, 2014. Since 2011, Zhilyaev has also been a member of the editorial board of the Moscow art magazine, Khudozhestvennyi Zhurnal. He is a contributor of e-flux Journal and others. As an artist and activist (member of the Russian Socialist Movement and Union of Creative Workers), he was involved in intense debates around precarity. Zhilyaev graduated from Voronezh State University, Philosophical Faculty (2006); Moscow Institute of Contemporary Art (2008); and MA International Programs, Valand School of Fine Arts, Goteborg, Sweden (2010). Recent accolades include the Innovation 2010 Russian state award in the sphere of contemporary art, the Soratnik [Companion-in- Arms] 2010 and 2012 awards, and a nomination for the Visible Award in 2013.