Exchange Scholarship

Baden-Wuerttemberg + Catalonia 2017

After the successful start in 2015, there will be another artist exchange between Baden-Wuerttemberg and Catalonia this year.
The exchange scholarship, initiated on the initiative of the Goethe-Institut Barcelona, the Kunststiftung Baden-Württemberg, the Württembergischer Kunstverein and the Hangar Art Center, Barcelona, is funded by the Ministry of Science, Research and the Arts of Baden-Württemberg and the Catalan Government.

RESULT OF THE JURY 2017

From the Catalan applications Antonio Gagliano (* 1982) and Veronica Lahitte (* 1980) were selected. Both artists will come to Stuttgart in June and July 2017 and will present their work at the end of their stay. From Baden-Wuerttemberg Sophie Innmann (* 1986) and Anna Romanenko-Schiefer (* 1983) were awarded with the scholarship by the jury. The artists will realize their artistic project in September and October 2017 in Barcelona.

P R O G R A M

Sunday, December 10, 2017, 7 p.m.
UNA NUEVA LENGUA (A new tongue)
Exhibition Opening
of the scholarshipholders ANTONIO GAGLIANO, VERÓNICA LAHITTE, ANNA ROMANENKO
Venue: WKV Querungen

"UNA NUEVA LENGUA (A new tongue) is a spacial essay combining projects by Antonio Gagliano (Argentina, 1982), Verónica Lahitte (Argentina, 1980) und Anna Romanenko (Russia, 1983) evolving around notions such as accent, réplica, theft, liquidity or recoil.

UNA NUEVA LENGUA (A NEW TOUNGE) loots the conditions of possibility necessary for a conversation to take place. Thus, the projects bring together case studies from the realms of classical literature, the birth of the internet and military history, unfolding scenes wherein two opposing sides, as characters or combatants, exchange sensations and technical arguments. Nevertheless, the messages swarm out into a sentimentally confused zone where the opponents by wishing to understand destroy one another.

At the same time the project recounts appearances of replicas, doubles, copies and of rewriting as a necessary step through which the assemblage of primal scenes can recurrently actualize itself. For what does it imply to exhume a bygone conversation and drag its concerns into the present time? How to address the ways in which history presents itself? Maybe a copy also marks a form of catastrophe?

In no case does the search for material amidst the rubble entail a nostalgic gaze, but rather the insistence on the resignification of fragments, playing with their unforeseen constellations, the traces of a new tongue." (Antonio Gagliano, Verónica Lahitte, Anna Romanenko)