Montag, 23. September 2019

Liebe und Ethnologie / Love and Ethnology

Liebe und Ethnologie


Philipp Gufler, Quilt #01 (Hubert Fichte) mit Adrian Djukic, 2013

Die koloniale Dialektik der Empfindlichkeit (nach Hubert Fichte)

18.10.2019–06.01.2020


Can the ethnographic gaze be “given back”, restituted? Within the context of ethnology and the aesthetic avant-garde of post-war West Germany, the exhibition examines Hubert Fichte’s writing and takes it as the starting point for new artistic works on questions of representation and restitution, dissolution of boundaries and canonization, and updating colonial power relations.

The German writer Hubert Fichte (1935-1986) was fascinated by arts and religions of the African diaspora. In the 1970s, he travelled cities like Salvador da Bahia and Rio de Janeiro, Santiago de Chile, Dakar, New York and Lisbon, developing his utopia of a radical sensitivity. This sensitivity would serve research alongside intense interviews, intimacy through (gay) sexuality, self-reflexivity, and a condensed poetry of objectivity. Fichte’s experiments with dialogical forms of writing were incorporated in his monumental, unfinished cycle of novels Die Geschichte der Empfindlichkeit (The History of Sensitivity).

The exhibition and research project in cooperation with the Goethe-Institut, Hubert Fichte: Love and Ethnology, opens these works for a critical contemporary discussion. Since 2017, selected novels have been translated into Portuguese, English, French, Spanish and Wolof. For the first time, this stimulated a reception of Fichte’s writings in the places of their creation. Exhibitions curated on-site showed new artistic works. The concluding Berlin exhibition Love and Ethnology – The Colonial Dialectic of Sensitivity (after Hubert Fichte) gathers these inverted gazes and presents them against the backdrop of ethnology and the aesthetic avant-garde of post-war West Germany.

With extensive archival materials and artistic works by Nadja Abt, Heriberto “Eddie” Alicea, Kader Attia, Gilles Aubry, Richard Avedon, Alvin Baltrop, Gabriel Barbi, Letícia Barreto, Coletivo Bonobando, Papisto Boy, Michael Buthe, Miguel Rio Branco, Rosemarie Clausen, Nathalie David, Mestre Didi, Hubert Fichte, Claudia del Fierro, Avril Forest, Alair Gomes, Renée Green, Philipp Gufler, Ayrson Heráclito, Isaac Julien, Euridice Zaituna Kala, Kippenberger und Akim S. aus 44, Friedl Kubelka, Pedro Lemebel, Cristóbal Lehyt, Musa Michelle Mattiuzzi, Leonore Mau, Tiona Nekkia McClodden, Virginia de Medeiros, Michaela Melián, Mario Navarro, Richard Oelze, Pan African Space Station, Lil Picard, André Pierre, Lili Reynaud-Dewar, Daniel Richter, Thierno Seydou Sall, Pierre Verger, James Van der Zee and others.

Curated by Diedrich Diederichsen and Anselm Franke


Conference:
Samstag, 19. Oktober 2019, 19h
Ästhetik des Faktischen: Poesie und Journalismus 
/Moderiert von Diedrich Diederichsen



Haus der Kulturen der Welt

John-Foster-Dulles-Allee 10
10557 Berlin
hkw.de

EVA STEFANI, PHILIPP GUFLER, ANTJE ZEIHER / ATHEN – MÜNCHEN


EVA STEFANI
PHILIPP GUFLER
ANTJE ZEIHER
/
ATHEN – MÜNCHEN

26.09.2019 — 22.11.2019


Galerie Françoise Heitsch
Amalienstrasse 19
80333 München
Germany

T +49 (0) 89 - 48 12 00
F +49 (0) 89 - 48 12 01
fheitsch@francoiseheitsch.de
www.francoiseheitsch.de

Mi-Fr 14.00—19.00
Sa 12.00—16.00
(Die Galerie ist in den bayerischen Schulferien geschlossen)

Freitag, 16. August 2019

Maskulinitäten, Kunstverein für die Rheinlande und Westfalen, Düsseldorf




Eine Kooperation von Bonner Kunstverein, Kölnischem Kunstverein und Kunstverein für die Rheinlande und Westfalen, Düsseldorf.

Eröffnung / Opening August 31, 2019, 19:30 in Düsseldorf

Sat, 5.10, 7 pm
IDLE TALK
IN their reading, Philipp Gufler and Evelyn Taocheng Wang read parts of their artist books "Unintended Experience" by Evelyn Taocheng Wang and "Indirect Contact" by Philipp Gufler.
Venue: Kunstverein für die Rheinlande und Westfalen, Düsseldorf


Kunstverein für die Rheinlande und Westfalen
Grabbeplatz 4, 40213 Düsseldorf
https://www.kunstverein-duesseldorf.de


Samstag, 18. Mai 2019

Pleasure-Pain at Marwan, Amsterdam


Pleasure-Pain
Marwan is delighted to invite you to the opening of Pleasure-Pain by Philipp Gufler on Friday, May 31st, 2019. Central to Gufler's first Amsterdam solo exhibition is his new video installation The Responsive Body, starring Diogo da Cruz, Johanna Gonschorek, Richard John Jones, Evelyn Taocheng Wang, and Louwrien Wijers.

On Marwan's website, you can now find the text "The Responsive Body – somatic hacking and artistic friendships" by art historian and educator Arnisa Zeqo, which is accompanying the exhibition.

"Pleasure-Pain" is on view till June 23. Marwan is open on Saturdays and Sundays from 2 pm to 5 pm and by appointment.

On Thursday, June 6, at 8 pm, two performances by Johanna Gonschorek and Diogo Da Cruz will take place at Marwan as part of the exhibition.

The exhibition Pleasure-Pain is made possible with the generous support of the Amsterdams Fonds voor de Kunst. The production of the video installation The Responsive Body is kindly supported by the Erwin und Gisela von Steiner Stiftung and Stichting Stokroos.





Marwan
Fokke Simonszstraat 12, Amsterdam, 1017 TG Netherlands
https://marwan.hotglue.me

Marwan is an artist-run project space at Fokke Simonszstraat 12, Amsterdam, initiated and curated by Tirza Kater and Tim Mathijsen and currently operating autonomously under the generous wings of AKINCI







Fotos: Franziska Schulz

Queer?! Visual Art in Europe






Projektion auf die Krise (Gauweilereien in München) is included in the book »QUEER!? Visual arts in Europe« by Anton Anthonissen and Evert van Straaten, Waanders Uitgevers, Zwolle.

Montag, 25. März 2019

I'M IN LOVE WITH A STATUE

I'M IN LOVE WITH A STATUE

Opening: Thursday, 02. Mai, 7 PM



02.05.2019 – 13.07.2019 

THE EXHIBITION IS EXTENDED FROM: 26.06. – 13.07.2019
The gallery is closed while the Whitsun holidays.


„They are attacking me, hypnotizing my eyes.
It is extending into the space, onto my body. My body is vulnerable. I'm loosing control. My central-nervous system is numb.
It has to be removed, destroyed.“


aus The Responsive Body von Philipp Gufler



Die Op-Art der 1960er Jahre vermittelt sich als Kunstströmung der Präzision und Kontrolle über den Gegenstand und feiert in überwältigenden Mustern die Kunst der Illusion. Einer der Heroen unter den Op-Art-Künstlern war Victor Vasarely, den in der Hochphase seines Schaffens die Idee bewegte, seinen Bildern umfassende Präsenz zu verschaffen. Das Logo von Renault bringt noch heute zum Ausdruck, wie sehr Vasarely in alle Poren des Alltags eintauchte. Seine Fondation in Aix-en-Provence sollte als Gesamtkunstwerk die Ideen des Künstlers verbreiten. Vasarely schuf für sein Museum 42 Monumentalwerke in den Maßen sechs auf acht Meter.

Einige Tage am Ende des letzten Jahres verbrachte Philipp Gufler mit einem Team an Filmleuten und befreundeten Künstler_innen vor Ort, um sich am Ego und Egozentrismus eines Malers abzuarbeiten, welcher der Op-Art nachhaltig seine DNA einschrieb. Diogo Da Cruz, Johanna Gonschorek, Richard John Jones, Evelyn Taocheng Wang, Louwrien Wijers und Philipp Gufler formulieren die Wirkung der Werke körperlich. Die optischen Effekte der großformatigen Bilder affizieren die Anwesenden, das Sehen löst extreme Reaktionen des Körpers aus. Die Reizüberflutung führt zu Schwindelgefühlen – ganz ähnlich denen des Schriftstellers Stendhal, der 1817 beim Besuch von Santa Croce in Florenz von einem nervösen Anfall erfasst wurde. Das Stendhal-Syndrom ist in der Performance vor Vasarelys Gemälden eine Doppelfigur: im Schwindel offenbart sich die Ohnmacht der Rezipierenden und die Macht des Bildes über ihre Sinne.

In Guflers Videoinstallation The Responsive Body (2019) formulieren sich Fragen an das heteronormative, männliche Selbstverständnis einer Kunstrichtung. Gufler schleuste Texte der britischen Op-Art-Künstlerin Bridget Riley in seinen Film und gibt ihr damit Raum in einem egozentrischen Museum. Der Film wird in der Ausstellung auf eine Folie projiziert, deren Siebdruckmuster an einen Entwurf Bridget Rileys erinnert. Somit bringt die Projektion Vasarely, Riley und Gufler in Interaktion. Guflers Videoinstallation verhandelt dabei wesentliche Themen, die Vasarelys Kunst und ihrer Rezeption zu eigen sind: Kontrolle über die Muster und das Sehen, Wiederholung als Reproduktion, Macht über die Rezeption, Narzissmus und Selbstbespiegelung.

In den Spiegelbehälter und den Dreiecksspiegeln im ersten Stock der Galerie paraphrasieren sich diese Motive. Auch der rosa Winkel, den schwule KZ-Häftlinge in der Zeit des Nationalsozialismus sichtbar tragen mussten, formuliert eine Obsession für geometrische Figuren; zwanzig Jahre später extrahierte die Op-Art aus den berechenbaren Formen der Geometrie ihre Identität. Von den Spiegeln führt zudem ein Weg zum unvollendeten Schloss Herrenchiemsee des bayerischen Königs Ludwig II., der auf dem Chiemsee eine Reinkarnation von Versailles plante. Im Büro der Galerie hängt ein Quilt, das Gufler dem Träumer und selbst ernannten „Gralskönig“ Ludwig widmet. In der Ausstellung I’m In Love With A Statue entwickelt sich ein Dialog über Zeiten und Räume, ist der bayerische König zugleich Partner und Antipode Victor Vasarelys. Herrenchiemsee von 1878 begegnet der Fondation von 1976, in der Großen Spiegelgalerie des Schlosses auf der Chiemseeinsel spiegeln sich nicht nur die Phantasmen des Königs, sondern auch die Großkunstphantasien Vasarelys, wird die heroische Maskulinität persifliert.


Burcu Dogramaci

------

„They are attacking me, hypnotizing my eyes.
It is extending into the space, onto my body. My body is vulnerable. I'm loosing control. My central-nervous system is numb.
It has to be removed, destroyed.“


from The Responsive Body by Philipp Gufler


Op Art from the 1960s communicates itself as an art movement of precision and control over the object and celebrates in overwhelming patterns the art of illusion. One of the heroes among Op Art’s various artists was Victor Vasarely, who, at the peak of his craft, was moved by the idea to provide his paintings with an all-encompassing presence. Renault’s logo, still, today, expresses how deep Vasarely immersed himself into each and every sphere of every day life. His foundation in Aix-en-Provence was meant to spread the artist’s ideas as a complete and total work of art. Vasarely created 42 monumental works, sized six to eight metres, for his museum.

For a few days at the end of last year, Philipp Gufler, together with a film crew and a team of befriended artists, visited the museum in order to grasp and process the ego and egocentrism of a painter, who inscribed deeply into Op Art his own DNA. Diogo Da Cruz, Johanna Gonschorek, Richard John Jones, Evelyn Taocheng Wang, Louwrien Wijers, and Philipp Gufler intended to formulate the impact of the works physically. The optical effects of the large-scale images affect those present, the act of seeing triggers extreme reactions in the body. Sensory overload leads to dizziness – similar to that suffered by the author Stendhal, who, during a visit of Santa Croce experienced a nervous seizure in Florence in 1871. During this performance, the Stendhal syndrome in front of Vasarely’s paintings constitutes a double-figure: through dizziness the impotence of the receiving attendees is revealed as well as the power the images hold over their senses.

In Gufler’s video installation The Responsive Body (2019), questions, directed at heteronormative, masculine self-conceptions of an art movement, arise. Gufler channelled texts by the British Op Art artist Bridget Riley into the film and thus provides her with space in an egocentric museum. In the exhibition, the film will be projected onto a foil, which resembles with its silkscreen pattern one of Bridget Riley’s designs. Thus, the projection brings Vasarely, Riley, and Gufler in a state of interaction. Gufler’s video installation deals with essential themes, which are intrinsic to Vasarely’s art and its reception: control over patterns and the act of seeing, the repetition of reproductions, the power over reception as well as narcissism and self-adulation.

The mirror case and the triangle-shaped mirrors on the first floor in the gallery, paraphrase these motives. The pink angle, too, which gay concentration camp inmates had to wear visibly during the time of national socialism, formulates the obsession with geometric figures; twenty years later, Op Art extracted through the calculable forms of geometry their identity. From the mirrors away leads a way to the unfinished castle Herrenchiemsee, purchased by the Bavarian King Ludwig II, who planned Versailles’ reincarnation on the Chiemsee island. In the office of the gallery hangs a quilt, which Gufler dedicates to the dreamer and self-appointed “Grail King” Ludwig. In the exhibition I’m In Love With A Statue, a dialogue between time and space develops; the Bavarian king is at one and the same time partner and antipode of Victor Vasarelys. Herrenchiemsee of 1878 meets the foundation of 1976; the great mirror gallery of the castle on the Chiemsee island reflects not only are the phantasms of the king, but also those of Vasarely’s project on great art – their heroic masculinity is satirised.


Burcu Dogramaci

Galerie Françoise Heitsch

Amalienstr. 19, 80333 München T +49 (89) 481 200 F +49 (89) 481 201
Open We – Fr 14:00 – 19:00  SA 12:00 – 16:00
FHEITSCH@FRANCOISEHEITSCH.DE 

Die Videoinstallation THE RESPONSIVE BODY ist mit freundlicher Unterstützung der Erwin und Gisela von Steiner-Stiftungund und der Stichting Stokroos entstanden.









Fotos: Baschang, Courtesy the artist and gallery Françoise Heitsch, Munich

Movie poster, 2019













each 6 Euros + shipping! Get them here: kontakt (at) philippgufler.de 
Poster by Philipp Gufler, special thanks to Yvonne Quirmbach!

Z COMMON GROUND

Z COMMON GROUND
Eröffnung: 30.04.19
30.04.19 – 02.06.19
Zschokkestrasse 36
München


FINISSAGE: VIDEO SCREENING
02.06 17:00

Video Screening mit dem Künstler Philipp Gufler
»Ritual of Farewell«, 2011, 5:49 min.
»Becoming-Rabe«, 2016, German/English subtitles, 7:39 min.
»The responsive body«, 2019, English, French, German/English subtitles, 27:42 min.
Im Anschluss gibt es ein Gespräch mit Laura Lang und Philipp Gufler.

kontakt@z-common-ground.de
www.z-common-ground.de
FB
Instagram

Organisiert von Laura Lang, Loomit und Daniel Man.

Donnerstag, 31. Januar 2019

Künstlergespräch in der Pogo Bar, KUNST-WERKE Berlin

Philipp Gufler
I Wanna Give You Devotion


14. Februar 19, 21 Uhr
Ort: Pogo Bar in den KW, Auguststraße 69, 10117 Berlin
Bitte melden Sie sich im Voraus unter pogobar@kw-berlin.de an.



Quilt #05 (Wolfgang M. Faust), Siebdruck auf Stoff, 2014, Berlin, Courtesy BQ

„Jäcki möchte kein Eindringling im Archiv sein.
– Alles nachfühlen, nicht nur recherchieren.
– Kann ich so lange bleiben, bis ich alles durchlebt habe?“
(Aus: Philipp Gufler: Indirekte Berührung, BQ Berlin 2017)


Einige geschichtsbegeisterte Lesben und Schwule gründeten im April 1999 das selbstorganisierte Archiv forum homosexualität münchen e.V. Seitdem arbeiten sie daran, aktuelle kulturelle und wissenschaftliche Beiträge und Erkenntnisse zu Alltag, Kultur und Geschichte von Lesben, Schwulen, Transsexuellen und Bisexuellen zu fördern, zu sammeln und für weitere Forschungen und die breitere Öffentlichkeit zugänglich zu machen.

Philipp Gufler ist seit 2013 Mitglied des Archivs und realisierte 2014 die Videoinstallation und das gleichnamige Künstlerbuch Projektion auf die Krise (Gauweilereien in München), in denen er sich mit den 1980er Jahren und dem AIDS-Maßnahmenkatalog der damaligen bayerischen Staatsregierung auseinandersetzt.

Das Künstlerbuch I Wanna Give You Devotion entstand parallel zur gleichnamigen Installation von Philipp Gufler in München 2017. Dafür hat Gufler 29 Künstler*innen und Kollektive eingeladen, die Postersammlung von forum homosexualität münchen e.V. zu befragen, zu erweitern und zu aktualisieren. Diese neuen Poster wurden gemeinsam mit historischen Postern der Sammlung präsentiert, wodurch ein dichtes Geflecht aus aktuellem und historischem Material entstanden ist.

Seither sind im Rahmen seiner Forschung im forum homosexualität münchen e.V. weitere Arbeiten entstanden wie die Siebdruck-Serie Quilt oder die temporäre Bar Bei Cosy 2017 in Zusammenarbeit mit Richard John Jones im Rongwrong in Amsterdam.

Philipp Gufler wird bei I Wanna Give You Devotion aus seinem Künstlerbuch Indirekte Berührung (2017) lesen; in einem Gespräch mit Léon Kruijswijk (Curatorial Fellow der KW) liefert er zudem einen vertiefenden Einblick in seine künstlerische Recherche.

Die Veranstaltung findet in Kooperation mit BQ, Berlin statt. Am 28. Februar um 20 Uhr wird der Film Projektion auf die Krise (Gauweilereien in München) von Philipp Gufler parallel zur bereits laufenden Einzelausstellung King Louis II im Projektraum von BQ (QBBQ’s) in der Rosa-Luxemburg-Straße 15 präsentiert. Die Ausstellung läuft bis zum 16. März 2019.

----


Philipp Gufler
I Wanna Give You Devotion


14 February 19, 9 pm
Venue: Pogo Bar, KW Institute for Contemporary Art, Auguststraße 69, 10117 Berlin
RSVP: pogobar@kw-berlin.de

“Jäcki does not want to be an intruder at the archive.
– To empathize with everything, not just to do research.
– Can I stay until I have lived through all of it as well?“
(From: Philipp Gufler. Indirect Contact. BQ Berlin: 2017)

In April 1999, a collective of lesbians and gays with a passion for history founded the self-organized archive forum homosexualität münchen e.V. Ever since the members have been working to promote and collect current cultural and scientific contributions and findings on the everyday life, culture and history of lesbians, gays, transsexuals and bisexuals to make them accessible for further research, but also for a wider public.

Philipp Gufler has been a member of the archive since 2013. He created the video installation and artist book Projektionen auf die Krise (Gauweilereien in München) in 2014, in which he deals with the measures of the 1980s Bavarian state government regarding AIDS.

In 2017 in Munich Gufler created the installation and the eponymous book I Wanna Give You Devotion. He invited 29 artists and collectives to question, expand and update the poster collection of the forum homosexualität münchen e.V. These new posters were exhibited along with historical posters from the collection, creating a dense network of contemporary and historical material.

The artist continued to produce works evolving from his research in the forum homosexualität münchen e.V., such as the silkscreen series Quilt or the temporary bar Bei Cosy, created in collaboration with Richard John Jones at Rongwrong, in Amsterdam in 2017.

During I Wanna Give you Devotion, Gufler will read from his artist book Indirect Contact (2017, German title: Indirekte Berührung). Moreover, a conversation between him and Léon Kruijswijk (curatorial fellow, KW) will provide a deeper insight into Gufler´s artistic research.

The event is organized in collaboration with BQ, Berlin. On 28 February at 20h, Gufler’s work Projektion auf die Krise (Gauweilereien in München) will be screened in the framework of the solo exhibition King Louis II in BQ’s project space QBBQ’s in the Rosa-Luxemburg-Strasse 15, which is on show until 16 March 2019.

Dienstag, 8. Januar 2019

King Louis II




29. January - 16. March 2019

Thursday, 28.02.2019, 8–10 pm
Film Screening
„Ritual of Farewell“, 2011
„Projektion auf die Krise (Gauweilereien in München)", 2014
„Becoming-Rabe“, 2016
by Philipp Gufler


Dramatis Personae
Ludwig II: the last Bavarian King; heavily in debt
Prince Paul: Ludwig’s aide-de-camp, and lover
Rabe Perplexum: an artist; wearing feathers
Peter Gauweiler: an angry, fearful man
Ben d'Armagnac: an artist; standing inside a large glass box
David: a statue, who has no lines; is only fallen in love with
Louis: a cat

Setting
A neighborhood bar, a quiet place you eventually forget the name of, as your first visit recedes in your memory, indistinguishable from the hundreds of times you've returned, drank, and drank to forget more than just the name of the bar. Lined with floor-to-ceiling mirrors in ornate gilt frames, the tight space doesn't let you stray far from your own image. As you walk behind the row of bar stools with their patrons, there you are in the glass, looking over your own shoulder. Sometimes there are film screenings in the basement, the only time that the familiar scene is interrupted, when the regulars are again reminded of the name of the place: "Is this Reflections?" the newcomers ask as they enter the doorway, their skeptical expressions doubled in the mirror. Before anyone answers (and no one ever does) you've already entered, as if you've always known that this was the place. There's no sign on the front, but you can always find Reflections if you really need to.

The stage is empty except for Ludwig the King. He lingers over a glass, perhaps designing another extravagant castle in his imagination, or working out the details of his still unfinished Herrenchiemsee Palace. After bankrupting the royal purse and the monarchy tout court, he was declared insane and deposed by his ministers. Now an emigré living in a little German enclave in Chicago, he goes by Louis, but most of the regulars at the bar call him Lou. No wonder he recognizes himself more in the face of the cat, with whom he shares the feeling of being somehow irreconcilably different from his fellow drinkers, than in the reflection in the mirror.

Across the surface of these mirrors gauzy images transpire. Something familiar is queerly figured, a spectral face blending with our own. A bit like magic, we see other lives which rendered ours visible, and through our life something of theirs appears. In this little bar we see a distant transfer of Louis XIV’s Hall of Mirrors at Versailles, or Ludwig II's copy of it at Herrenchiemsee. The light of the sun reflected off the moon shimmering at the bottom of a glass; a Louis, a Ludwig, a Lou. Don’t think of it as a decline, but a transference of desires no less urgent or refined. Perhaps this bar is just as much a fantasy as the castle of Linderhof. Reflections is a real place, but you've never been there; I used to go there, but now I can't remember.

Becket Flannery, 2019


QBBQ's
Rosa-Luxemburg-Str. 15
10178 Berlin
Tue - Sat 12 - 18 h







Fotos: Roman März