The city will burn. In his ongoing series “Ablaze” Uroš Djurović sets fire to a variety of historic and landmark buildings around the globe. Applying a sophisticated mix of artistic techniques from video-editing to artisanal woodcuts and video-manipulation, he creates a series of sculptured video-objects.
For “Die Informale” Djurović takes on the city of Buenos Aires and torches its most outstanding landmarks. His objects appear in hidden places throughout the city surprising an unprepared audience with his apocalyptic vision of a dark urban future. Djurović creates artefacts from the future foreshadowing calamities yet to experience.
Born 1979 in Berlin, Uroš Djurović studied painting at the Berlin Art school Weißensee. His work spans a wide range of media like photography, film, animation, oil-painting, drawing as well as printing, and lately extensive fusion of film and sculptures.
The video project Adler investigates the correlation between tangible material and its incorporeal dimensions. The work takes as its starting point the recovery of a historical artefact.
By focussing on the pure matter of the object and its ability to encapsulate time, this work suggests an alternative journey in the past. It is an abstract, mechanical,
aesthetic proposition towards an object’s embodiment of time, beyond the imposed political meaning and symbolism it inherits.
As soon as the spectator puts on the VR-glasses, he enters A/A’s virtual realty voyage through the sky „A/DOOM“ (2017). In the midst of an endless white space with no horizon, smoky condensation trails rush towards the viewer shaping an apocalyptic, but yet beautiful outlook in 360 degree.
The falling formations resemble meteorites and rockets. The scenery shifts between an abstract composition and an immersive environment while an atmospheric, slowly pulsating soundtrack accompanies the visually reduced black and white setting
and draws the audience into the meditative rhythm of the ever repeating dystopian moment.
According to his practice, Konrad Mühe frequently names his video sculptures like real personas. His character “Alexander” (2017) consists of a projector that is installed onto table. It screens a compilation of quick sequences showing dogs taken from feature films.
The movie dogs seem to alternately look around the room, at the projector and at the observer. Finally, the moved images and the sculpture are communicating among equals:
The table itself – with its projector head and the cable tail – is recalling the figure of a dog and answering the projection.
To rebel against modern society, to return to nature: in pursuit of these primeval instincts, for one week, Jankowski lived off goods he hunted in the supermarket. Instead of stalking animals, he eyed and avoided the supermarket security cameras.
Armed heroically with a bow and arrow, Jankowski shot down frozen chickens, butter, toilet paper, and various other ‚essentials.‘ His game, if edible, was not just dead, it was processed on a mass scale. Thus, the reaction of the woman working the checkout counter:
she remained wholly unimpressed by the trophies of his ‚bargain hunt,‘ which she scanned with the arrows still sticking out of them. He has to pay like everyone else.
Artist Felix Kiessling connects Buenos Aires and Berlin marking the start of „Die Informale: Videoramas.“ In a global, spatial intervention, two metal poles – one anchored in Buenos Aires, the other in Berlin – form one single line. Kiessling’s temporary, bipartite sculpture gives shape to an imaginary connection.
‘Durchstechung BA–BER’ is a playful approach to overcoming distance. By treating our planet as a scaleless mass, the work challenges prevailing physical rules and the conventional understanding of man’s position in the world.
Kiessling’s work will also result in a video-work celebrating it’s premiere at „Die Informale: Videoramas“ in October 2018.
Anne Duk Hee Jordan’s performance “Into the Wild” is an engaging experience and joint exploration of culinary art describing a table of long-forgotten herbs, edible scented flowers and old root tubers. A “social food sculpture” takes the audience back to nature: The whole dining room has been reclaimed by plants and appears as a forest or biotope. In the absence of plates or cutlery, participants explore the entirely edible garden with their hands while enjoying their menu.
Artist Anne Duk Hee Jordan, along with the Berlin based curator Pauline Doutreluingne, the Berlin mixologist “Herr Lindemann” and a chef from Buenos Aires, will introduce guests to edible plants, drink infusions and culinary experiments that transport them to the jungles and high plains of Argentina. In October Jordan and Doutreluingne go on a discovery trip to the Andes and the Amazon bringing back wild plants to Buenos Aires in order to unite the mountains and the rainforest on the table.
The four hosts will share their knowledge, present foraged plants and – most importantly – the myths and narratives associated with them in order to ignite a table talk on contemporary issues. They will be leading the conversation on urging urban, environmental and social topics with their illustrious company at table and local friends.
Artist Guido Ignatti uses a technique of ropes that allow him to model sculptural situations that project a field of meaning outside the physical, highlighting the dynamics of the body suspended in space. In his productions he works with obliteration, closed spaces, whether physical, real, symbolic and / or access to information.
The artwork “La Pira” is a device of physical actions and emotional reactions – the field of action that every material construction generates, be it a painting, a sculpture or an installation. The action of the bodies subjected to the device of this work proposes discussions related to eroticism and identity.
The performance is understood as a choreography of long duration that articulates the action of the artist and that of the performers as subjects and objects in consecutive moments.
A get-together in the spirit of creative neighbourhoods such as San Telmo, St. Pauli or Kreuzberg. Döner Kebab, Video-Works, Installation and a musical encounter. Neighbourhoods such as San Telmo in Buenos Aires, St. Pauli in Hamburg or Kreuzberg in Berlin
are often the hotbed of artists and their experimental project spaces. Turkish immigrants invented the Döner Kebab in Germany, which is now the culinary foundation of every Berlin Club Night. “Die Informale” will celebrate these places with Kebab,
video-works on music and a musical encounter.
In the framework of the Art Basel Cities program, La Ira de Dios and Movil opened cheLA doors to the public and joined forces with “Die Informale”. The combined Kick-off and open-studio-reception featured an installation by Felix Kiessling establishing an imaginary
connection between Buenos Aires and Berlin, a screening and video-objects by Uros Djurovic as well as works by the participants of the current Kitchen in Process residency program curated by Tainá Azeredo, Director of Casa Tomada (São Paulo, Brazil). Berlin mixologist
“Herr Lindemann” served specifically conceived drinks to introduce the idea of the social food sculpture “Into the Wild” by Anne Duk Hee Jordan.
An exhibition and open studio with the resident artists of La Ira de Dios in the old industrial building of cheLA now turned a hotbed of artistic production. On October 26 guests had the chance to enjoy diverse installations and performances.
Berlin artist Anne Duk Hee Jordan and curator Pauline Doutreluingne presented their social food sculpture “Into the Wild” and the Hamburg based artist collective Baltic Raw Org in cooperation with Ole Wulfers, Paul Speckmann and Erobique opened
VAGAR for a unique sound experience. A screening of video-works dealing with urban interventions completed the night at cheLA.
The final program of Die Informale was opened by a Salon celebrated in the iconic building Kavanagh in Buenos Aires.
Berlin and Hamburg based artists presented video pieces, the Berlin mixologist Herr Lindemann served Mate infused drinks and the
guests enjoyed the music which was played by Hamburg’s Paul Speckmann and Erobique.
In his video work „Soy una Transacción – Given Names – Identitox“ (2017) Vincent Grunwald applies numbers and codes that have been issued by institutions like banks and states to public space.
As if it was names or messages, he writes his pin codes and personal data on benches, walls or even cash machines. This act of leaking the own sensitive data in urban space subverts the concept of privacy.
Grunwald’s playful interventions fill the air with a notion and the potential of being tracked and identified.
‘Die Informale’ occupied an extraordinary place activated by video art. Artists were taking the flawed condition of the exhibition space as a starting point to reflect on ruins,
cracks and the strained relationship between humans and the environment. This night of video-interventions featured works evolving around ecological topics,
decay, the Anthropocene and the power of art to implement change.
Aram Bartholl’s series of short 3D animation sequences “TOP25” features the 25 most used passwords in the world. Standard, easy-to-guess passwords like ‘123456’ or ‚admin’––frequently the default preset passwords for routers and other devices in the past—still pose a significant security threat to computer systems in general. This collection of well-known passwords is presented in the style of YouTube intros.
It is common practice among YouTubers to use short and to the point 3D animations of their logos and names to introduce their channels. A whole scene of young YouTubers exchanges and shares the 3D source files (Blender 3D) online to help new channel producers generate their own intros. Even if the animations are remixed and altered, the general aesthetics follow a very clear visual concept.
All sequences in this video are original designs and arrangements by different creators. The text has been altered to match the top 25 passwords.
BRO’s structure „VAGAR“, built out of cardboard and wood, is conceived as a multifunctional mobile stage and sculpture equipped for spontaneous public engagements of various kinds.
Circulating Buenos Aires during the last weeks of October 2018, VAGAR functions as a central connecting element between art, the general public and the city of Buenos Aires.
„Die Informale“ presents the first part of Kasia Fudakowski’s ongoing film project “World Count”, that started in 2016. It is based on the futuristic, fictional concept of a direct correlation between the dramatically rising sea levels and the amount of words that humans speak.
Its dramaturgy evolves around the worldwide attempt to fight the catastrophic circumstances and deal with new social-political restrictions such as the cage law, which is named after John Cage’s piece 4’33“ and that rations each citizen an amount of 433 words per day.