ed. Tom McCarthy and Anne Hilde Neset
published on the eponymous exhibition at Kunstnernes Hus, Oslo, 2022-2023
A holding pattern is what air traffic controllers use to keep several planes orbiting above a busy airport without crashing. But what are the patterns in which our lives are held? What rhythms, or algorithms, drive these? How do they play out in historical, political, and cultural terms? And can art, literature, filmmaking, or music draw them out, make them visible, legible, audible, or even contestable?
Holding Pattern is published on the occasion of a major international group exhibition at Kunstnernes Hus in Oslo. It contains conrtibutions from Inke Arns, Magnus Haglund, Sina Najafi, Anne Hilde Neset, Susan Philipsz, David Toop, and Judith Vrancken, and an extensive new essay by Tom McCarthy.
Holding Pattern, the exhibition, features works by Stan Douglas, Harun Farocki, Ingri Fiksdal, Åke Hodell, Stefan Panhans & Andrea Winkler, Susan Philipsz, and Elizabeth Price. It is co-curated by Tom McCarthy and Anne Hilde Neset.
published by Lenz
Stefan Panhans / Andrea
Winkler
THE POW(D)ER OF I AM KLICK KLICK KLICK KLICk AND
A VERY VERY BAD BAD MUSICAL!
Protestant megachurches in the USA, preaching a market-compatible neoliberal ideology of individual self-optimisation under the guise of Christian morals. The two artists’ works revolve around SUVs, communication with artificial intelligences, everyday racism, the cult of celebrity and clichéd roles, the “uncanny valley” and other post-digital feedback loops between human beings and virtual worlds as well as, last but not least, the precarious status of cultural workers.
The exhibition features six video installations and various sculptural and photographic works. The magazine contains an introduction by Inke Arns, essays by Martin Herbert and Tom McCarthy, as well as a documentation of all the works in the HMKV Hartware MedienKunstVerein.
ed. Inke Arns, HMKV – Hartware MedienKunstverein,
Dortmund
Texts by Inke Arns, Martin Herbert and Tom
McCarthy
160p
ISBN 978-3-86206-908-8
ISSN 2629-2629
ed. by Kathrin Busch
with contributions by Kathrin Busch, Christian Egger and Jan Verwoert
128p with 112 coloured illustrations
250 x 160 mm, softcover with flaps
ISBN 978-3-86442-135-8
Appropiated re-enactments in a rapidly destabilized world
Crime scenes are cordoned off by police, screens block an accident
from view, barrier tape guides visitors through museums – these
are all devices that are supposed to deter us from getting closer
to things, places or valuable goods. Andrea Winkler stages
appropriated re-enactments of this order as well as those
security-suggesting items in a rapidly destabilizing world. She
transfers these blocking devices very precisely into complex
three-dimensional and accessible collages that, at the same time,
always transform the surrounding architecture and the remaining
exhibition situation into a precarious and thought-provoking
scenario. In addition, she places marginal objects next to the
barriers, which interact with the space and its impact, triggering
strong emotions and evoking deviations from our everyday world.
The fact that the motif-constellations themselves represent
deviations from the norm in relation to accidents, underlines the
artist's strategy. Andrea Winkler constructs a double-bind: on the
one hand, the situations appear as a mere image or mimetic model
of reality, which as art lacks any actual function; on the other
hand, the works point to a real aesthetic system that creates a
place with actual social regulations.
Fig Typeface by Tauba Auerbach
Andrea Winkler: Cover, 22, 44, Kolumne 3, Aaron Weldon: Lyrics 6–12,
Ian Svenonius: FREE WILL IN THE CYBER AGE 13, Tanzende Beine 16, 38,
Mazaccio & Drowilal: Vanitas : Still life with fig 20, Still life with Mouse pad 26,
Still life with padlock 35, Still life with pink pin 41, Still life with Palette 47,
Still life with soft cursor 55, Annette Weisser: The Special One 21,
Yves Mettler: Geheimnis am Stadtrand 27, Peles Empire: A33D, 2012 31/34,
Apartementual Imperial, 1873/2017 33, Sarah Mendelsohn: Silence = Crush 42,
Andrew Berardini: The Standard Book of Color: Peach 48, Lemon 50,
Plum 51, Tangerine 52, Sonja Hornung 56–63
Cover and insert of annual publication
ANDREA WINKLER »DIE BEINE MEINES AUTOS«
Man kann mit Büchern, Magazinen oder Heften wackelnde Kühlschränke abstützen und oder Fetischismus treiben, man kann z.B. auch mit minimalen Mitteln einen kleinen Katalog in ein Objekt verwandeln. So wie es Andrea Winkler entsprechend ihrer sonstigen Vorgehensweise macht, bei der in Ausstellungen die Raumsituation jeweils so mit einbezogen wird, dass diese selbst mit zum »Akteur« wird. Hier wird durch üblicherweise nicht gebräuchliche, dafür aber um so irritierendere Eingriffe, der Informationsträger – in diesem Fall, eben ein konventioneller, kleiner, gedruckter Katalog – zu einem Hauptdarsteller. (Nora Sdun)
With the aid of books, magazines or notebooks one can prop up wobbly fridges or practise fetishism, or by using minimal means one can e.g. convert a small catalogue into an object. What Andrea Winkler pursues here according to her artistic approach, when she namely incorporates the spatial situation in an exhibition in such a way that it becomes an active »player« itself within the setting. By means of costumarily unusual, but therefore even more irritating interventions the information carrier – in this case here, a conventional, small, printed catalogue – becomes a leading actor. (Nora Sdun)
Andrea Winkler: Die Beine meines Autos
Mit einem Text / with a text by Nora Sdun
16 Seiten / pages, 17 x 23 cm
Softcover mit Banderole / soft cover with banderole
ANDREA WINKLER »FAMOUS QUOTES BY FAMOUS PEOPLE«
vergriffen
Durch ihre mehrteiligen, raumgreifenden Installationen verwandelt Andrea Winkler den Ausstellungsraum in ein räumliches Szenario, was sich durch unterschiedliche Blickwinkel verändert und neu erschliesst. In einer Kombination aus skulpturalen und bildhaften Elementen wie InkJet Drucke, Magazinseiten, Grafitti und Absperrungen steckt sie den räumlichen Parcour regelrecht ab, nicht nur spielt sie mit Momenten des Vagen und Leeren, sondern bringt den Betrachter nahe in einer Art Close-up heran oder geht in die Weite und bietet eine Übersicht aus der Distanz an. Winklers Installationen sind logisch konsequent, aber zitieren keine Vorreiter wie es der Titel suggerieren könnte, vielmehr ziehen sie einen durch ihre improvisierte Leichtigkeit und ästhetisch präzise Stilisierung in den Bann. Normalerweise die Domäne der Celebrities, dieser Glamour wohnt Andrea Winklers Kunst wann immer sie eine auch noch so komplexe räumliche Dramaturgie entwirft inne.
Andrea Winkler inverts the gallery space, creates spatial scenarios made up of multipart installations that alter markedly depending upon one's respective viewing position. In a combination of sculptural and pictorial elements using InkJet Prints, magazine pages, graffiti and barriers that mark out the path through her scenarios, she not only plays upon moments of vacancy and the vague, but also takes the viewer up really close or pans out to provide a distanced overview. Winkler's installations are logically consistent, but actually don't quote any precursors as the title would suggest, but draw one in as though in a mixture of improvised ease and aesthetically strict stylisation. Normally the preserve of celebrities, this glamour inhabits her art whenever she produces spatial scenarios in a seemingly intricately composed dramaturgy.
Andrea Winkler: Famous Quotes by Famous People
Mit einem Essay von / with an essay by Jens Asthoff
Epiloge Bettina von Dziembowski
56 Seiten / pages
30 vollformatige Farbabbildungen / full-format color ill.
22,1 x 29,3 cm
Deutsch/English
ISBN-13: 9783940953995
ANDREA WINKLER, STEFAN PANHANS: »DU KANNST DIE POLIZEI
BELÜGEN, ABER NICHT MICH«
Exhibition catalogue Kunstverein Harbuger
Bahnhof Publikation zur gleichnamigen Ausstellung im
Kunstverein Harburger Bahnhof
Risography with centerfold poster Risoprint, 24 Seiten
mit Farbposter
Text by Britta Peters Text von Britta Peters
21cm x 30 cm
Neue Kunsthalle St.Gallen, Revolver, Frankfurt
This publication has been released on the occasion of the exhibition «Umbau/Modification» at Neue Kunstale St Gallen with works by Jeroen Jongeleen, Felix Schramm, Clemens von Wedemeyer, Andrea Winkler. With texts by Burkhard Meltzer, Sabine von Fischer and an interview by Stefan Wagner and Burkhard Meltzer with Jeroen Jongeleen.
21 x 30 cm, 52 pages, coloured
German/Englisch
ISBN 978-3-86588-390-2