The exhibition RESISTANT FACES inquires into the state of the portrait in the digital age and presents a collection of fourteen critical approaches to both visuality and reality from contemporary photography. In a present shaped by social media and public surveillance systems, the image of the human being has become part of a new culture of data-sharing, observation and control. The positions presented in the exhibition address a new social understanding of autonomy and reveal visionary alternatives to algorithm-based facial recognition technologies. With: Broomberg & Chanarin, Eli Cortiñas, Antye Guenther, Lynn Hershman Leeson, Esther Hovers, Basim Magdy, Frida Orupabo, Emmanuel Van der Auwera
Everything Passes Except the Past, Fondazione Sandretto Re Rebaudengo, 2020
The exhibition "Everything Passes Except the Past" presents art works by Bianca Baldi, Alessandra Ferrini, Grace Ndiritu and the collective Troubled Archives. Colliding reality and representation, the presented art works put in question the Western idea of the colonial image as neutral “document“ and expose tensions between past and present.
Julien Creuzet: Knows to feel, The smell of rain, Myopia, Flooded, Know how to feel [...], Drdova Gallery, Prague, 2018
The sea and what it takes, brings and carries plays a central role in this exhibition: Constructed as a variable multimedia installation, the show consists of found objects, a video, engravings and sculptures. By combining natural and synthetic materials, like fishing nets, shells, driftwood, bottles and shoes, he blurs the border between technology and nature, the native and the foreign, high and low culture. Poetic and political at the same time, Julien Creuzet’s installation creates a spatial experience that focuses on the complex intersection of the history of Martinique and the events of European (post-)modernity. By problematizing identity and the colonial construction of the Other, his works ask provocative questions relating to the concept of hybridity, subalternity and the anthropocene.
With an awareness of photography as a tool of modernity and simultaneously a medium of truth and of artifice, Bianca Baldi’s artistic work shows how power structures work invisibly and how artistic work can point to this. The artist sets the elements in play and develops an aesthetic to describe complex historical, political and economic entanglements.
Perruche Programme, Brussels, 2018-ongoing
Curated by Jana J. Haeckel for the Goethe-Institut Brussels, the Perruche Program is an ambitious series of exhibitions, performance and discourse inviting international artists. Like its namesake, the parakeet (perruche, fr.), the programme understands itself as a cultural nomad: Since January 2018, various artists have been invited to show their work in collaboration with different partners. Experimenting with exhibition and performance formats, they explore the physical and discursive qualities of the space they occupy. Invited artists: Heba Y. Amin, Bianca Baldi, Eli Cortiñas, Julien Creuzet, Pedro Oliveira, Adrian Schindler, Slavs & Tatars, Clemens von Wedemeyer
Work Work Work, Acud Gallery Berlin, 2018
„Work, Work, Work” is the seventh chapter of the Karma Ltd. Extended –exhibition series, curated by Jana J. Haeckel. The show addresses the precarious working and living conditions of the digital bohemian and calls for resistance against the current “terror of presence” (Hito Steyerl). With: Barbora Kleinhamplova & Ina Wudtke
Performing the Border, Kunstraum Niederoesterreich, 2017
The exhibition Performing the Border presents artistic works which are not satisfied with the obvious and evident and choose to focus their attention beyond to the outside. In a present time, where large parts of the globe are marked by racism, isolation, restricted freedom of the press, and “post-factual” debates, the artists plot scenarios in which the dubious categories of the “own” and the “foreign” can become tangible for the viewer. They conceive the complex field of national, ethnic, social, digital, and sexual identity as a realm for experiment. With: Monira Al Qadiri, Halil Altindere, Francis Alÿs, Ursula Biemann, Tiffany Chung, Julien Creuzet, Khaled Jarrar, Leon Kahane, Martin Krenn/Oliver Ressler, Eva Leitolf, Hana Miletić, Anahita Razmi, Christoph Schlingensief, Hito Steyerl, Wermke/Leinkauf, Clara Wildberger, Miao Ying
Spatial Sublation, WIELS Project Space, 2016
How can artists contribute and entangle viewers on a deeper level beyond the mere surface of such fraught images? And what are the ethical ramifications of recirculating such images for the public? The works of artist Léa Belooussovitch (*1989, Paris) aim in the heart of those questions and deal with the research-based, hybrid documentary image. They use the possibilities of the reframed media image as artistic strategy to inquiry the promise of truth linked to photography/ film and ask how to transform a ‘matter of facts’ into a ‘matter of concern‘.
Passages: Photography in Contemporary Video Art Museum of Louvain-La-Neuve, 2015
Passages - Photography in Contemporary Video Art is an exhibition in three parts that concerns the dialectic between photographic and moving images in contemporary video art. It explores critical reflections on current issues such as globalization and environment, identity, history and memory. The three researchers Brianne Cohen, Jana J. Haeckel and Alexander Streitberger curated a selection of video works from the Argos collection taking place at the Museum of Louvain- la-Neuve, the Cultural Center Louvain-La-Neuve and on the University Campus. With: Ursula Biemann, Charley Case, Jan Dietvorst, Eitan Efrat, Sirah Foighel Brutmann, Mekhitar Garabedian, Andrea Geyer, Ken Kobland, Julia Meltzer, Mara Elsa Montoya, Els Opsomer, Walid Ra'ad, Avi Shaham, Shelly Silver, The Otolith Group, David Thorne, Uri Tzaig, Sarah Vanagt, Katrien Vermeire, Roy Villevoye
Beyond Space, Acud Gallery, 2015
In 1972 the British artist and filmmaker Lis Rhodes co-founded the feminist film distribution collective “Circles.” Based on the desire to distribute and screen women’s film on their own terms, Circles wanted to create a platform for female art films that remained invisible in the main institutions of these days. Rhodes created a radical strong formal aesthetic and wanted her audience to “reconsider film as a medium of communication and presentation of image, language and sound.” The exhibition “Beyond Space – Raum, Rhythmus, Abstraction” follows this need and brings together four female artists of different generations working through the possibilities of abstraction. They use film, photography, painting, drawing and installation to question the representation of space and make us aware that we only perceive very partial traces of the “visible”, which are inevitably influenced by our own perception. With: Katja Mater, Verena Pfisterer, Lis Rhodes and Verena Schirz-Jahn
Species of Spaces, Berlin Carré, 2012
The exhibition “Träume von Räumen / Species of Spaces” is an experiment on and with space. The book Species of Spaces (Espèces d'espaces, Paris 1974) by Georges Perec forms its point of departure. Through his own reflections, questions and memories, the French writer confronts the idea of space, whether it is on a page, in the mind, or in reality. The exhibition features work by six different artists who follow Perec's ideas about the various "Spaces" we inhabit in our everyday lives - from our bedrooms, our city blocks, and our neighbourhoods, to our fantasies and the sphere of language. While Awst & Walther develop a hidden sculptural non-space which invokes the potential of the unknown, Maryna Baranovska’s collages uses the pages of fairytale books to create a mystic inter-media world. Laure Prouvost’s video 'THE ARTIST' abducts the viewer into the space of thoughts and work of the artist. The process of translation is an ongoing concern here, whether that is from French to English, text to image, or film to sculpture. Wilma Renfordt uses the setting of the Berlin Carré as an examination of public space, confronting visitors with their own individual perception. Sabrina Schieke uses the 'real' text of Perec's book as an ongoing, sculptural intervention: The text passages are part of a dedicated project to copy the full book in poster form, to completely cover the walls of her own apartment to create a transformed text corpus. The paintings of Paul Sochacki present humorous, ambiguous spaces and situations. For example his piece ‘6. -7. Dezember 2012’ is a manifestation of a very personal spatial experience: In the night before the opening Sochacki put a white paper under his pillow and slept on it. By using the particular setting of the Berlin Carré as a stage for spatial examinations, the artists create a political 'theatre': In anticipation of the coming close of SCHNEEEULE and many other ateliers and shops in Carré due to renovation works, the exhibition space becomes a sentient example of the ephemeral, endangered working and living space in Berlin With:Awst & Walther, Maryna Baranovska, Laure Prouvost, Wilma Renfordt, Sabrina Schieke and Paul Sochacki
Languages of Revolution, Kleine Humboldt Galerie, 2012
With “The Revolution Will Not Be Televised” (1969/70) the poet and musician Gil Scott-Heron wrote one of the most important protest songs of the African-American Civil Rights Movement, still popular to this day. Gil Scott-Heron?s spoken-word-performance is just as much an appeal against racism as it is a critique of the representation of political protests in the media: Revolutions defy being captured in (media) images, their historic complexity and immediate discharge of physical force go beyond the scope of visual representation. Nevertheless, in times of mobile cameras, YouTube, and Facebook, images as witnesses of political events have become decisive evidence and even motors of political movements – the events on the Tahrir-Square in February of 2011 offer only one of many possible examples. Foremost, the relationship between text and image plays a crucial role: Only by means of a textual localization do images dispersed in digital space receive their context and hence their potency as instruments of political pressure. Conscious of the fact that protest movements can neither be compared in their content nor musealized in the context of an (art) exhibition, LANGUAGES OF REVOLUTION focuses on works of art dealing with one common denominator of many protest movements: their language. Against the background of globalization, it becomes significant that similar buzzwords, signs, and slogans are used for completely different political movements, thereby undergoing considerable transformations. For the artworks brought together in LANGUAGES OF REVOLUTION, the following questions are of central relevance: Which language-codes and visual signs do different political movements employ? Which changes or ideological coloration is their language thereby subjected to? How and where are the slogans and signs picked up that become converted into expressions of political rebellion? At a point of mergence between scripture and image, the exhibition shows works by international artists who explore the strategies of political appeal and public refusal. With: Nikusha Chkhaidze, Maurice Doherty, Constantin Hartenstein, Elín Hansdóttir, Nadia Kaabi-Linke, Dan Perjovschi, Nasan Tur, Sandra Schäfer, Santiago Sierra, Klaus Staeck, Clemens Wilhelm, Qi Zi