Unklarheit ist die neue Gewissheit, Unentschiedenheit das neue Urteil

Installation view from left: Noele Ody, Eoghan Ryan, Aura Rosenberg

Jason Dodge, Lights the height of dogs eyes. Richard Hoeck & John Miller Mannequin Death, 2016, High definition digital video with sound, 3 mins 14 secs

Christian Kobald Hello and Welcome, Recording of a guided tour through the Sigmund Freud Museum Vienna, 2011, Sound work, 26 mins 6 secs Nora Turato where what happened to people …, 2018, Inkjet Print, 84,1 x 118,9 cm, unique

Kiki Kogelnik CBGG, 1976, 16mm film, © Kiki Kogelnik Foundation. All rights reserved

Marie Angeletti Untitled, 2017, Enamel screenprint on fabric, Courtesy of Édouard Montassut Ewa Partum My problem is a problem of a woman, 1978, Colour photography, 68,5 x 48,5 cm, edition of 5, framed Zmiana change, 1974, Offsetprint, signed on back, 36,5, Courtesy M + R Fricke, Berlin Jason Dodge, Lights the height of dogs eyes.

Marie Angeletti Untitled, 2017, Enamel screenprint on fabric, Courtesy of Édouard Montassut

Jason Dodge, Lights the height of dogs eyes. Aura Rosenberg Statues Also Fall In Love: Version II for Unklarheit Ist Die Neue Gewissheit, Unentschiedenheit Das Neue Urteil, Courtesy the artist

Ewa Partum Zmiana change, 1974, Offsetprint, signed on back, 36,5 x 27,5 cm, framed, Courtesy M + R Fricke, Berlin

Lukas Posch Die Nerven (guests), 2017, Acrylic on glass, aluminium, wood, 46 x 82 cm

Lukas Posch, Die Nerven (getwellsoon), 2017, Acrylic on glass, aluminium, wood, 82 x 46 cm

Lukas Posch, Die Nerven (getwellsoon), 2017, Acrylic on glass, aluminium, wood, 82 x 46 cm Eoghan Ryan Clamdigger, 2015, HD video, 7.55 min, Courtesy of the Artist

Noele Ody Thank You, Fuck You, 2012, Plastic bag &bdquo;Thank You“, Mp3 player with looped song, headphones

Installation view Eoghan Ryan, Aura Rosenberg

Eoghan Ryan Clamdigger, 2015, HD video, 7.55 min, Courtesy of the Artist

Aura Rosenberg Statues Also Fall In Love: Version II for Unklarheit Ist Die Neue Gewissheit, Unentschiedenheit Das Neue Urteil,  Courtesy the artist

Alli Miller An Application, 2015–ongoing

Nora Turato shouldn’t there be sirens?, 2018, Inkjet Print, 84,1 x 118,9 cm, unique

Seth Price. Triumf, 2000, Single channel video, 19.18 min, courtesy of the artist

Hanna Putz Untitled 2015–2018, 21,4 cm x 17cm, Color Pigment Prints

Noele Ody Sharing is caring, 2017, champagne box, concrete, steel, leather, brake handle

Nora Turato from what it had been into what it now is, …, 2018, Inkjet Print, 84,1 x 118,9 cm, unique

Annika Larsson The Discourse of the Drinkers, 2017, 38 min loop, HD Video, Stereo Sound, Colour, Courtesy of the Artist

Unklarheit ist die neue Gewissheit, Unentschiedenheit das neue Urteil

What to do as an artist, if time doesn’t feel like your own? How do you find more immediacy, less of the art world’s conventionality? We live in a fucked up time. We are hooked on art like junkies, the drugs got harder though and damage our bodies. We have to invent new forms, new ways of working, different spaces and different contexts, jump over the abyss, and have more fun again.

Marie Angeletti
Jason Dodge
Richard Hoeck & John Miller
Christian Kobald
Kiki Kogelnik
Annika Larsson
Alli Miller
Noële Ody
Ewa Partum
Lukas Posch
Seth Price
Hanna Putz
Aura Rosenberg
Eoghan Ryan
Nora Turato
and a ceiling painted blue

Curated by Rita Vitorelli

26 April – 10 June 2018
Spike Berlin
Rosa-Luxemburg-Straße 45
10119 Berlin

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People

Shimabuku, Christmas in the Southern Hemisphere , 1994. Courtesy: the artist and Air de Paris, Romainville. Photo: Photo Marc Domag

Shimabuku, Christmas in the Southern Hemisphere, 1994. Courtesy: the artist and Air de Paris, Romainville. Photo: Photo Marc Domag

Places to Travel Slowly: An Interview with Shimabuku

An artist of chance encounters muses about the intimacy of dirt, world-record mountaineering, and art that opens up the body’s every cell.

Views

Whitney Claflin, Writer’s Block , 2023, vinyl on plexiglass, stretchfoil; four panels, each 119 x 119 cm. Courtesy: the artist and DREI, Cologne

Whitney Claflin, Writer’s Block, 2023, vinyl on plexiglass and stretchfoil. Installation view, Galerie Layr, Vienna, 2023. Courtesy: the artist and Drei, Cologne

Correspondences: Curated by and viennacontemporary 2023

Ringing out the summer, the Viennese art world’s own Philip Marlowe, Max Henry, sleuthed across the hardboiled city, looking for the traces of the evasive Neutral.

Discourse

Photo: Gucci “Twinsburg” SS 2023

Theory of Style: On Looking Like

What is it like to “like” in the era of influencer fashion? Does desiring to emulate mean accepting one’s artificial self? In her September column, Joanna Walsh considers the difference between looking and being “like.”

Views

Dineo Seshee Bopape, I Re-member Mama, 2023. © HAM/Helsinki Biennial/Sonja Hyytiäinen

Dineo Seshee Bopape, I Re-member Mama, 2023. © HAM/Helsinki Biennial/Sonja Hyytiäinen

Archipelago of Other Knowledges

Spread over a wooded coastal island, the second Helsinki Biennial posits flora and soil as more potent agents of politics than language-based art activists.

Things we like

VALIE EXPORT, Körperkonfiguration , 1982, silver gelatin print, 119.5 × 180 cm. © VG Bild-Kunst, Bonn 2023. Courtesy:the artist and Charim Galerie, Vienna

VALIE EXPORT, Körperkonfiguration, 1982, silver gelatin print, 119.5 × 180 cm. © VG Bild-Kunst, Bonn 2023. Courtesy:the artist and Charim Galerie, Vienna

5 Shows On Our Radar

Spoilt for choice by Berlin Art Week and Gallery Weekend Festival? Spike tabbed through the capital’s stacked exhibition schedule for what to see with fresh eyes in the coming days.

Discourse

Britney Spears objects with an umbrella to a paparazzo’s behavior, 2006

Britney Spears to a paparazzo’s behavior with an umbrella, 2007

The Internet is Forever

In the mistake culture produced by an era of surveillance, our idea of the good isn’t defined by action, but its appearance, and the power to make truth boils down to who keeps the receipts. By Matilda Lin Berke

People

Anna-Sophie Berger,  Untitled, Alexander Berger 1979 , 2023, C-print, 162.6 x 106.6. cm. Courtesy: Anna-Sophie Berger and Emanuel Layr, Vienna. Photo: Kunstdokumentation

Anna-Sophie Berger, Untitled, Alexander Berger 1979, 2023, c-print, 162.5 x 106.5 cm. All images courtesy: the artist and Emanuel Layr, Vienna. Photos: Kunstdokumentation

Moral Fables: An Interview with Anna-Sophie Berger

Is legibility in art a violent demand? During her latest solo show at Emanuel Layr, Vienna, Anna-Sophie Berger spoke about bad faith, harmful language, and fashion’s rapport with death.

Things we like

Julia Scher, Greta , 2022, marble 40 x 76 x 30 cm. © Rolf K. Wegst. Courtesy: the artist and Drei, Cologne

Julia Scher, Greta, 2022, marble 40 x 76 x 30 cm. © Rolf K. Wegst. Courtesy: the artist and Drei, Cologne

5 Shows On Our Radar

Phones from a dog’s eyes, knock-off poetry, and archives archives archives: Spike’s editors recommend four shows and one walking tour during Munich’s marquee art event “VARIOUS OTHERS.”

Discourse

#76

Joan Didion’s pair of Celine faux-tortoiseshell sunglasses, which sold at auction in November 2022 for $27,000

Joan Didion’s Celine faux-tortoiseshell sunglasses, which sold at auction in November 2022 for $27,000

Second-Hand Lifestyles

In times of it-girl inflation, everyone wants to live in a celebrity’s skin. Who better than Joan Didion to burst that bubble? Her spirit explains why style survives death and serious (prose-) stylists only buy Kim Kardashian’s shapewear.

Views

#76

Left: Pablo Picasso, The Sculptor , 1931, oil on plywood, 285 x 96 cm; right: Pablo Picasso, The Supplicant Woman , 1937, gouache on wood, 24 x 18.5 cm. Both: © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Courtesy: Musée national Picasso, Paris

Left: Pablo Picasso, The Sculptor, 1931, oil on plywood, 285 x 96 cm; right: Pablo Picasso, The Supplicant Woman, 1937, gouache on wood, 24 x 18.5 cm. Both: © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Courtesy: Musée national Picasso, Paris

Sorry Not Sorry

Warming over Hannah Gadsby’s stand-up Picasso takedown from 2018, “It’s Pablo-matic” undermines the Brooklyn Museum’s own staff and even gatekeeps the privileges of non-expertise.

People

#33

Nicole Eisenman, Sloppy Bar Room Kiss , 2011, oil on canvas, 99 x 122 cm. Courtesy:  the artist and Vielmetter Los Angeles. Photo: Robert Wedemeyer

Nicole Eisenman, Sloppy Bar Room Kiss, 2011, oil on canvas, 99 x 122 cm. Courtesy: the artist and Vielmetter Los Angeles. Photo: Robert Wedemeyer

Heavy Painting

Joanna Fiduccia’s portrait in Spike #33 of Nicole Eisenman, now the subject of a retrospective at Museum Brandhorst, Munich, snapshots her first forays into printmaking and her opening of the body unto intimacy.

"The 80s was the last period when low self-esteem was a normative response to authority"

Essay: The Last Great Era of Low Self-Esteem

4. 6. 2018

Unklarheit ist die neue Gewissheit, Unentschiedenheit das neue Urteil

Installation view, from left: Noele Ody, Eoghan Ryan, Aura Rosenberg

Installation view

Jason Dodge, Lights the height of dogs eyes.

Richard Hoeck & John Miller
Mannequin Death, 2016, High definition digital video with sound, 3 mins 14 secs

Installation view

Installation view Annika Larsson

Christian Kobald
Hello and Welcome, Recording of a guided tour through the Sigmund Freud Museum Vienna, 2011, Sound work, 26 mins 6 secs

Nora Turato
where what happened to people …, 2018, Inkjet Print, 84,1 x 118,9 cm, unique, Courtesy LambdaLambdaLambda

Installation view

Installation view Kiki Kogelnik

Kiki Kogelnik
CBGG, 1976, 16mm film, © Kiki Kogelnik Foundation. All rights reserved

Marie Angeletti
Untitled, 2017, Enamel screenprint on fabric, Courtesy of Édouard Montassut

Ewa Partum
My problem is a problem of a woman, 1978, Colour photography, 68,5 x 48,5 cm, edition of 5, framed
Zmiana change, 1974, Offsetprint, signed on back, 36,5, Courtesy M + R Fricke, Berlin

Jason Dodge, Lights the height of dogs eyes.

Marie Angeletti
Untitled, 2017, Enamel screenprint on fabric, Courtesy of Édouard Montassut

Jason Dodge, Lights the height of dogs eyes.

Aura Rosenberg
Statues Also Fall In Love: Version II for Unklarheit Ist Die Neue Gewissheit, Unentschiedenheit Das Neue Urteil, Courtesy the artist

Ewa Partum
Zmiana change, 1974, Offsetprint, signed on back, 36,5 x 27,5 cm, framed, Courtesy M + R Fricke, Berlin

Lukas Posch
Die Nerven (guests), 2017, Acrylic on glass, aluminium, wood, 46 x 82 cm

Lukas Posch,
Die Nerven (getwellsoon), 2017, Acrylic on glass, aluminium, wood, 82 x 46 cm

Lukas Posch,
Die Nerven (getwellsoon), 2017, Acrylic on glass, aluminium, wood, 82 x 46 cm

Eoghan Ryan
Clamdigger, 2015, HD video, 7.55 min, Courtesy of the Artist

Noele Ody
Thank You, Fuck You, 2012, Plastic bag „Thank You“, Mp3 player with looped song, headphones

Installation view Eoghan Ryan, Aura Rosenberg

Eoghan Ryan
Clamdigger, 2015, HD video, 7.55 min, Courtesy of the Artist

Aura Rosenberg
Statues Also Fall In Love: Version II for Unklarheit Ist Die Neue Gewissheit, Unentschiedenheit Das Neue Urteil, Courtesy the artist

Alli Miller
An Application, 2015–ongoing

Nora Turato
shouldn’t there be sirens?, 2018, Inkjet Print, 84,1 x 118,9 cm, unique

Courtesy LambdaLambdaLambda

Seth Price.
Triumf, 2000, Single channel video, 19.18 min, courtesy of the artist

Hanna Putz
Untitled 2015–2018, 21,4 cm x 17cm, Color Pigment Prints

Noele Ody
Sharing is caring, 2017, champagne box, concrete, steel, leather, brake handle

Hanna Putz
Untitled 2015–2018, 21,4 cm x 17cm, Color Pigment Prints

Nora Turato
from what it had been into what it now is, …, 2018, Inkjet Print, 84,1 x 118,9 cm, unique

Courtesy LambdaLambdaLambda

Annika Larsson
The Discourse of the Drinkers, 2017, 38 min loop, HD Video, Stereo Sound, Colour, Courtesy of the Artist

Unklarheit ist die neue Gewissheit, Unentschiedenheit das neue Urteil

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