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					                                                                                             GALERIE DER KÜNSTLER
                                                                                          BILDENDER KÜNSTLER MÜNCHEN
                                                                                                  UND OBERBAYERN E.V.


Tomáš Svoboda, Sabine Kammerl, Anne-Marie Creamer, Hanuš Burger, Jan
Mladovský/Jost - H. Hecker, Robert Barta, Toni Crabb, Andreas Wutz, Martin Zet

Opening: Friday, 20th March, 2007, 18 to 21 o'clock
Greeting Klaus von Gaffron, chairperson of Munich BBK and Obb. e. V.
Introduction: Pavel Zelechovsky, curator of the exhibit
Exhibit duration: From the 21st March to the 5th April, 2007
Opening times: Tuesday till Sunday of 11 to 18 o'clock, closed in holidays.

There will be a performance of MELODY SPIRIT by Jan Mladovský and Jost - H. Hecker on the 20th March, 2007, for
the opening (beginning at 18 o'clock before the opening addresses, duration approx. 20 minutes, during the
performance the entrance remains closed to the exhibit.

This exhibition questions the categories of the private and public space and puts real and imaginary limitations and
definitions of "territories" in the center of the artistic discussion. For ‚Territorien‘ at the GALERIE de KUNSTLER the
artist and curator Pavel Zelechovsky has chosen international works which approach the subject with different artistic
means like performance, film, videoprojections and installations.

Tomáš Svoboda
     In 1974 in Plzeň, Czech Republic; in 1996-2003 study in the academy of arts in Prague; in 1999 study in the
         state academy of the pedagogic arts, Karlsruhe.
The space installation „ Visiting micron flat “ (2006) circumscribes cartographic four walls of the artists own apartment.
Svoboda’s installation is 1:1 model of his apartment – moved as a minimalist wooden construction which defines
skeletal-like the private rooms in the public showroom. In the scaffolding of the model the printed banners list all
available objects from the real rooms of the apartment. In his newer work Tomáš Svoboda deals increasingly with the
Vereinnahmung of private sphere by the commercialization of the public like private space.

Sabine Kammerl
      In 1962 in Munich; in 1984-1990 study in the academy of the pedagogic arts Munich; 1991 Bavarian state
         conveyor price, project scholarship Munich LH; in 1992 working scholarship art fund, Bonn; in 1996 -1998
         visiting professor in the art college of the polytechnic of Kassel.
In "window of opportunity" (1999) Sabine Kammerl describes the unstable border between private and space. During a
stay in New York she filmed unnoticed an estate agent through the Spy-hole of her front door. Not only that in the age of
the mobile phone the loss of the demarcation is always present between privately and publicly, the presence of the
invisible, filming observer also lets the viewer become the voyeur. A subtle play of the border crossing and excess
control is opened: In the exhibiting situation the viewer looks is claustrophobically concealed, but also looks at the same
time through the eyes of the hidden observer at a public scene.

Anne-Marie Creamer
      In 1966 in London; study of the painting in the Royal college of kind, M.A .; in 2003 Arts Council of England,
English artist Anne-Marie Creamer deals in her video film „ Meeting the Pied Piper in Brasov “ (2005) with fiction, history
and also current political reality. . After the legend she takes up the history of the Rat-Catcher of Hameln who leads the
disappeared children of the town to Transsylvania, and as legend has it, to the town of Brasov. During her own trip to
the town Brasov, the artist comes upon a group of dancing children. It turns out that the children belong to an ethnic
Hungarian minority, who in spite of the compulsions of the communist regime of Ceauşescu, have preserved their sense
of identity through old traditions of dance, dress and song . The film testifies from the loss of the native country, from th e
impossible return to the place of the origin which is overlaid by transfiguration.

Hanuš Burger
      In 1909 in Prague; in 1990 in Munich; Bühnenbildner, author, documentalist and Spielfimregisseur.
This 30-minute documentary feature, "Clearing the Way" from 1947, tells with an idealistic tone typical for Burger the
history of a group children in Manhatten who must give up they place of play, because it is to become the grounds for
the then forthcoming main building of the United Nations. An engineer involved in the construction makes it clear to the
children what the meaning of the building for the world general public and the mission of the United Nations will be.
Persuaded by the ideals of people to democracy and clarification, Burger turned this film to propagate his idea of
understanding among nations and peaceful living together. However, in the end, the loss of the playground of the
children stands also for a Re definition of the public space which is explained here to an exterritorial area.

Jan Mladovský
      In 1949 in Prague; in 1965-68 studies in the academy of the pedagogic arts, Prague; in 1968-72 studies in the
         Slade School of kind, University college of London; in 1976-77 studies in the Accademia di Barking Arti di Brera,
The videoinstallation " Melody Spirit " (2006) shows two opposite projections. On the one hand, Mladovsky uses an
image of an US-dollar mark, symbol of the currency controlling the world. This picture is confronted with the projection
of a cellist who improvises repeatedly the melodies of the British and the Japanese national hymns. The alternating
admissions of both hymns as official national symbols are transformed by the anonymous monotony of the presentation
to statements in which an explanation of the apparently paradoxical Zusammenfügung of the British and the Jap anese
world can be found. More and more there turns out to be political and historical parallels of both nations in spite of
geographic distance. During the performance for the opening cellist Jost plays H. Hecker (*1959), who has many years
of experience as a performer of the European music world, will take place simultanously with video recording.

Robert Barta
     In 1975 in Prague; in 1998-2005 study of the sculpture and certificate in the academy of the pedagogic arts
         Munich; in 2002-2003 MFA, San Francisco kind of institutes; in 2000-2004 Cusanuswerk Bonn, scholarship; in
         2006 price of the German Central Bank, central Frankfurt.
In his installation "Beer Garden" (2005) Barta foregrounds the minimum conditions in which it is possible to simulate a
situation of the real. A cube with holzvertäfelten outer walls with coat hook and running around bank controls the scene.
From the inside of the installation eminate the taped noises of a restaurant. This work was orginally exhibited in a bank,
so that a visitor to who has taken a seat at the bank, experienced the believable illusion that he was in the middle of
entertaining events of a restaurant.

Tones Crabb
      In 1970 in Harare, Zimbabwe; in 1990-1995 art study in the Universidad Complutense, Madrid; in 1996-1999
         doctorate scholarship AECI for contemporary art history, Universidad Complutense, Madrid.
In her 8-mm film, made with different recording methods, Tony Crabb shows animals in their respective living spaces
and analyzes their different relations with the people watching them. To what extent is the animal able to use his living
space, and what do animals signify to the person watching them, and how does the animal devlop respect with his
human opponent? According to kind and structure of the area in which the animals live they are transfigured to cultural
clichés, consumption objects or in their cleanness, even heavenly.

Andreas Wutz
      In 1962 in Munich; in 1986-1989 study in the academy of the pedagogic arts Munich; in 1990-1991 study trip in
         New York; in 1991-1993 study in the academy of arts Dusseldorf; in 1999 project scholarship of the town of
         Munich; in 2003 Artist-in-residence of the FCCA, foundation and centre of Contemporary Arts, Prague.
The film project „ A Morning in the Highness's area “ deals with the subject of the ex-territorial areas and borders of a
nation-state, taking as an example of the Bubeneč quarter in Prague. In the capital of Czech Republic 93 messages and
land representations are to be found from all over the world as a kind smallest territories. The photographs show the
different streets of houses of the quarter as ostensible idyls. Noises and O tone admissions from the lands which are
every now and then in the crisis state or state of war update and contrast the picture.

Martin Zet
     In 1959 in Prague; in 1979-1985 study in the academy of arts in Prague.
The video recording "Fence" documents an action which Martin Zet carried out on the 1st May, 2002 in the mazedoni-
schen town Bitola. By putting up by his own hands a wire netting fence he tried to obstruct the pedestrian precinct of the
place. This was to be understood not only as a reaction of the artist to the growing fury of the people in the May
demonstrations - rather he makes clear with this work vividly the limitations that define territories, that also separate,
and prevent people from gathering.

Press contact and further information: Dr. Patricia Drück
Maximilianstrasse 42 ed.bbo cum kbb@rethcehcsd І 11 06 9912 (980) enohp ‫ ׀‬hcinuM 83508 ‫׀‬