SCHRÄGSPUR SLANT TRACK: VIDEO INSTALLATIONS FROM THE COLLECTION (REBUILD #3)
At irregular intervals since it opened in 1997, the Galerie der Gegenwart has undergone partial reorganization. This process of exchange and rearrangement is necessary in order to demonstrate the exciting variety of international contemporary art. It also allows us to show how our museum collection continues to grow.
Beginning with the purchase of Bruce Nauman’s Anthro/Socio at the documenta IX in 1992 – in anticipation of the Galerie der Gegenwart which had not yet been built – the Hamburg Kunsthalle has gathered together under the management of Frank Barth an extensive and notable collection of video works. Rebuild #3 provides the first opportunity to view these videos in new installations.
Visitors will be introduced to works from the 1960s and 70s by the pioneers of the medium – Vito Acconci, John Baldessari, Bruce Nauman and Hannah Wilke – as well as those by a younger generation of artists: Tracey Emin, Gillian Wearing, Mike Kelley, Pipilotti Rist, Rosemarie Trockel, Gregor Schneider and Christian Jankowski. Besides these, the new arrangement features entire video rooms with critical works by Jane & Louise Wilson, Johan Grimonprez and Shirin Neshat.
Whereas the video art of the late 1960s and early 70s was directed against its big brother – television – resulting in limited action and greater emphasis on formal and conceptual aspects, today it makes use of every filmic possibility: from the feature film to the TV clip, from surveillance footage to the documentary film. Drama, narrative, society and politics have regained importance. Art has found its way back to content through the medium of video.
Violence, brutality, surveillance methods and questions of cultural identity are the predominant themes in our video works. For this reason we have also included a selection of related works on loan (Harun Farocki, Lucinda Devlin and Korpys/Löffler).
Ever since video started to employ projection techniques and was no longer limited to presentation on small monitors, it has gained enormously in artistic importance. Video installations, video rooms and video projections have evolved as a result. Since the 1990s, the medium has become perhaps the most interesting area of artistic experiment.
Rebuild #3 is supported by SHARP Sharp Electronics (Europe) GmbH and DIFA Deutsche Immobilien Fonds AG.
EXHIBITED WORKS
Basement:
Candice Breitz, Karaoke (2000), room S 20
Shirin Neshat, Fervor (1999), room S 4
Jane & Louise Wilson, Normapaths (1995), room S 5
In addition, a looped program of video works will be shown in room S 3:
Simone Ackermann, Tableaux Vivants (2000)
Hans-Christian Dany, Wellenreiter (1997)
Peter Friedl, Tiger oder Löwe (2000)
Pia Greschner, Kansai Cosmic Delay (1999)
Annelies Strba, An III 2000 (Paris) (2000)
Christopher and Franz Stauffenberg, Pacific Ocean 1969 (2000)
Ground Floor and First Floor:
Olaf Breuning, Ugly Yelp (2000), room 137
Christian Jankowski, Telemistica (1997), room 004
Andree Korpys and Markus Löffler, Wodu (2000), room 19
Gregor Schneider, habe vergessen worauf ich warte (1995),
Haus ur (1995), room 138
Rosemarie Trockel, Blick von der anderen Seite (1999), room 14 a
In the Dan Graham Pavilion »Three linked Cubes. Room for showing Videos« changing programs of videos on particular themes will be seen:
Eleanor Antin, Representational Painting (1971)
John Baldessari, Baldessari sings Le Witt (1972)
Fischli and Weiss, Der Lauf der Dinge (1990)
Bruce Nauman, Slow Angle Walk (Beckett Walk) (1968)
Bruce Nauman, Revolving Upside Down (1968)
Charlemagne Palestine, Body Music I & II (1973)
Pipilotti Rist, I’m Not the Girl Who Misses Much (1986–1994)
Florian Slotawa, Museumssprints (2000)
William Wegman, Selected Works, 1970–1978 (1978)
William Wegman, Reel 7 (1977)
Hannah Wilke, Gestures (1974)
Second Floor:
Vito Acconci, Pryings (1971), Claim Excerpts (1971), room 25
Dara Birnbaum, Charming Landscape (1987), room 21
Lucinda Devlin, The Omega Suites (1991–1998), room 21
Tracey Emin, Why I Never Became A Dancer (1995), room 21
Harun Farocki, Ich glaubte Gefangene zu sehen (2000), room 24
Nan Goldin, The Ballad of Sexual Dependency (1986), room 23 a
Johan Grimonprez, Dial H-I-S-T-O-R-Y (1997), room 24 a
Tamara Grcic, Bolek (2000), room 21
Mike Kelley, Bob Flanagan and Sheree Rose, One Hundred Reasons, room 25
Mike Kelley / Paul McCarthy, Fresh Acconci (1995), room 25
Paul McCarthy, Family Tyranny / Cultural Soup (1987), room 25
Bruce Nauman, Anthro/Socio (1997), room 26
Gillian Wearing, Prelude (1999), room 21
Jane & Louise Wilson, Stasi City (1997), room 28
curated by Frank Barth
Hamburger Kunsthalle, Galerie der Gegenwart
April 14th until October 13th 2002
Elongated until January 1st 2003