FEBRUARY 2017 - MAY 2017
February 25 - May 7, 2017
Lawrence Abu Hamdan, A.S.I. group (Ehsan Fardjadniya, Edyta Jarzab), Sven Augustijnen, Ella de Búrca, Anna Dasovic, Köken Ergun, Johan Johan Grimonprez, Alevtina Kakhidze, Yazan Khalili, Jaha Koo, Lyubov Matyunina, Adrian Melis, Pinar Ögrenci, Dorian de Rijk, belit sag, Aleksei Taruts, Anika Schwarzlose, Radek Szlaga, Anastasiya Yarovenko
Katia Krupennikova (Amsterdam)
The exhibition Post-Peace, which includes works from nearly twenty artists from different cultural areas, traces the present-day manifestations of and relationships between war and peace. How much war is embedded within our peace? This is the pivotal question.
The exhibition proposes to express our present situation, in which the “peace” of global capitalism is dearly bought through constant violence and war, with the term “Post-Peace,” the time after peace. Indeed, Post-Peace spans a historical arc from the Second World War to the present day. Against the background that history is known to be always written by the victors, the exhibition takes a critical look at our cultures of memory and encourages a redetermination of historical discourse. In video works, photographs, installations, and performances, the artists address issues like colonialism and fascism in Europe, the Holocaust, or the so-called Middle East conflict. Explored are also topics like the ramifications of 9/11, the cynicism of global arms trafficking, the contemporary forms of nationalism and militarism, and the conflicts involving Ukraine or the Kurdish population.
Post-Peace was originally produced in 2016 for Istanbul as part of the curator prize bestowed by the Turkish financial institution Akbank. However, shortly before the opening, the exhibition was censored and cancelled. In Stuttgart, it will be seen for the first time, now in an expanded form.
JUNE 2017 - AUGUST 2017
May 27, 2017 - August 6, 2017
A joint venture of Württembergischer Kunstverein and Association Biennial of Contemporary Art Sarajevo, Bosnia-Herzegovina.
In 1953 the former head of state of Yugoslavia, Josip Broz Tito, initiated the construction of a – theoretically – nuclear-safe bunker in Konjic, a town, which is situated around 40 km south from Sarajevo (and today located in Bosnia-Herzegovina). It took 26 years to accomplish this giant bunker, which was built under conditions of utmost secrecy in the midst of a mountain and at a depth of 280 meters. This shelter, occupying a space of 6,500 square meters, was conceived for the survival of 350 chosen representatives of the political and military “elite” of that time – among them only one single woman: Jovanka B. Broz, the wife of Tito. The lager public beyond Konjic came to know about Tito’s bunker not before the 1990ies. In 2011 the artists Edo and Sandra Hozic launched a biennial, whose aim is to establish a museum of contemporary art at the site of the bunker.
Hans D. Christ and Iris Dressler had been invited to curate the 4th edition of the biennial. Their idea is to develop a project about Tito’ bunker for two venues: the bunker and the Württembergischer Kunstverein. Of interest here is to deal with the bunker and its complex history, present and future both, in the very heart of the place itself and from a distance – a remote place, where the exhibition will be shaped by the absence of the bunker (becoming itself a sort of phantom). Two different blind spots are inherent in this approach: one related to the condition of being too close and the other of being too remote from the object of reflection.
AUGUST 2017 - SEPTEMBER 2017
August 25, 2017 - September 24, 2017
Zeit, Krise, Revolte
Ausstellung der Künstlermitglieder