Institut Kunst
Hochschule für Gestaltung und Kunst
Fachhochschule Nordwestschweiz

Atelier Gebäude A 1.10
Oslo-Strasse 3
4142 Münchenstein b. Basel

Tram 11, Station Freilager
T +41 61 228 40 77 
info.kunst.hgk@fhnw.ch
fhnw.ch/hgk/iku
institut-kunst.ch

Postadresse:
Institut Kunst HGK FHNW
Freilager-Platz 1
Postfach
CH-4002 Basel


Newsletter
Twitter
Facebook

Impressum
Archiv

15.10.2017

LA FIN DE BABYLONE Mich wundert, dass ich so fröhlich bin!

KölnSkulptur #9, curated by Chus Martínez

• Skulpturenpark Köln. Opening on Sunday October 15, 2017, 11 am

 

Andrea Büttner, Claudia Comte, Eduardo Navarro, Lin May Saeed, Jan Kiefer, Teresa Solar, Solange Pessoa, Pedro Wirz

 

This edition of KölnSkulptur #9 is a special one since the park commemorates its 20th birthday. Under the title La Fin de Babylone. Mich wundert, dass ich so fröhlich bin! this edition has been curated by Chus Martínez. Eight new specific works have been produced. Following the opening, a catalogue will be published.

 

Do you remember the “Tales of A Thousand and One Nights”? When Antoine galland translated them into French from Arabic at the beginning of the eighteenth century, they transformed the imagination of the time. the night of the May 8, 1709, Antoine galland made a note in his diary about an extraordinary tale the Syrian merchant Hanna Diyab had just told him: “Aladdin and the Wonderful Lamp.” That night in Paris was a dramatic one, marked by riots over food shortages. Diyab arrived in the French capital during this period and turned some of the dark nights into true storytelling sessions that changed the course of a “A Thousand and One Nights”; the tales he told were added to the translation and became world heritage through literature.

It would not be accurate to say that the commissioned works for this edition of Skulpturenpark Köln are like those tales, but the park is the perfect grounds to be inhabited by the forces of fiction. Like the character Scheherazade, the wise young woman who tells a story every night to the Sultan in order to survive, Skulpturenpark Köln is a continuous voice that recalls the possibilities we still have to survive, and it does so with art. Expect a park full of jinn (geniuses, spirits). The artworks are not magic, though they all share the idea that sensation is what fuels a new imagination of the world we live in. They all want to animate the nonhuman—nature, metal, wood, earth—and bear witness to a common territory between us and animals, plants and geological life. Though the exercise of merging the realms of the human and the nonhuman is not a metaphorical one. It is oriented towards a re ection on the inhuman, on cruelty and all the means we have to avoid it.

Search for nuts, for animals, for forms merging with the ground, for plants of the desert living in the green, for the marks of wanderers embracing the trees… Rub the park as if it were Aladdin’s magic lamp and become the jinni, the one who is able to face the survival wars that are transforming our world.

 

The Skulpturenpark Köln is not monumental in scale, and yet it is of enormous importance. Over the last two decades, the park has been the place, the site, and the home of sculptures created for it, for you. The title of this year’s edition of Skulpturenpark Köln—La Fin de Babylone—relates to the dream of a new beginning for culture, and therefore for society. There is no such a thing, and yet there is. On the one hand, we have the life we have, our circumstances are hard to change, our possibilities hard to manifest. And there are times when we believe the past was a better place, and others when we see the time we live in as full of possibility, openness. What determines the difference between these two perceptions is the way we feel our relative importance. Oh! you may say it is economy, but even if the economy thrives, there is no guarantee that it provides a social environment in which we feel relevant to others, influential to our community, able to celebrate and partake in the current course of events… Here, I propose a total exaggeration: to imagine that the production of these eight, new site-specfic works join the already existing ones in the parcours is key to the beginning of a new world. What I ask of you is not only to walk through the park and discover the different works but to also see their existence as the wonder that may affect the world order. This is out of proportion, because so is art.

And thus the second part of the title: Mich wundert, dass ich so fröhlich bin! This sentence, full of healthy humor, relates not to us but to the effort art makes to be great every time it happens. It is art and artists that produce under the assumption that it is really worth it to intervene, and add to the park not as if it is a piece of land but the whole world. This needed “exaggeration” is what motivates a thinking about the possibility of in uence, which is both simple and complex.

This may be the reason why the different pieces that comprise this edition are rather unmonumental. They already embody an enormous ambition to affect the real, to touch us in such a way that every bit of skepticism of and cynicism towards the importance of art might be erased. And once liberated from the burden of doubt, we will all experience a new joy.

 

 Chus Martínez

→  Full press release in English

→  Presse Mitteilung auf Deutsch

 

skulpturenparkkoeln.de

 

 

Pedro Wirz, Trilobites, 2017, KölnSkulptur, Skulpturenpark, Köln
Pedro Wirz, Trilobites, 2017, KölnSkulptur #9, Skulpturenpark, Köln

 


Institut Kunst
Fachhochschule Nordwestschweiz, Hochschule für Gestaltung und Kunst
Atelier Gebäude A 1.10, Oslo-Strasse 3, 4142 Münchenstein b. Basel

Tram 11 Station Freilager, Freilager-Platz 1, Postfach 22, 4023 Basel
+41 61 228 40 77, info.kunst.hgk@fhnw.ch, fhnw.ch/hgk/iku, institut-kunst.ch

Postadresse:
Institut Kunst HGK FHNW, Freilager-Platz 1, Postfach, CH-4002 Basel


Impressum, Archiv, Newsletter, Facebook, Twitter

icon_institut-kunst_salmon2

 

 

i_institut-art-talks


i_institut-kunst_fbook