Decontextualised pieces of material run in elliptical loops, with multiple visual and narrative rhythms rubbing against each other.
Within these tensions are many diverse temporalities: the time of the digital archive, the sonic time of language, the bodily time of craft or eroticism, and deep geological time.
In this exhibition, Prodger’s works convey inherent referential and semantic implications, which in juxtaposition to their physical presence are at once brutal to watch, while embodying the subtle relationship between what we traditionally refer to as ‘form’ and ‘content.’ Prodger incorporates technology and mechanical devices in a two-fold sense: while technology (a mass of colour, a welded metal base or a specific monitor) are employed to present artistic content, Prodger also focuses attention on the objects themselves, building a self referential technological vocabulary that develops into a conceptual subtext.
Aspects of such time-based working methods as performance art, the mobility of the viewer, and the notion of beginning and end are merged to form one poetic and individualised space of experience, in which the format and medium of “exhibiting” is acted out.
Thus at the start of this year’s programme, a modus-operandi is introduced that explores alternative means of presenting art by addressing the intersection of performance and exhibition making, of experience, observation and interaction, and with it the mechanisms of both the white cube and the theatre.
The first is a series of exhibitions in the Kunstverein’s Schaufenster of posters, ephemera, and works dealing with forms of publicity, beginning with a survey of Studio for Propositional Cinema’s exhibition posters (beginning 24 October) and continuing with Palermo and Sigmar Polke (8 November – 20 November), Sarah Kürten (22 November – 4 December), Feminist Land Art Retreat (6 – 18 December), Nicolás Guagnini (20 December – 1 January), and Roy Arden (8 – 29 January).
In the main exhibition space a new series of 73 small publications will be presented, each produced in close collaboration with the artists, collectives, and writers who have contributed to past exhibition projects of Studio for Propositional Cinema, including its inaugural project at the Kunstverein in Düsseldorf, projects at mumok, Vienna, and Kunsthaus Bregenz, as well as at their exhibition space in Düsseldorf’s Ackerstrasse.
Analogously, the negotiation of humankind’s relations to technology and nature and of objects to subjects makes up the crucial point of reference in Frankovich’s oeuvre.
By interweaving sculptures, video, and performances, she conceives exhibition parcours that are in a constant state of flux.We are for reception and the negation of reception.You do not want us, but we are already inside your head.” Since then their activities have taken many forms, including an exhibition space in Düsseldorf, various publishing projects (including Papier und Gelb, a bookshop in Düsseldorf started in 2015 together with Rhein-Verlag), sustained collaborations with other artists such as Keren Cytter, Alex Wissel/Jan Bonny, and Gaylen Gerber, as well as several exhibitions, realized both individually and together with a loose network of other artists and cultural producers whose concerns, activities, and ideals intersect with their own.Motifs, anecdotes and physical forms are repurposed and re-used throughout her work.Central to this is the slippery idea of the version, where something produces a mutation of itself.Material interactions between the body and technology; the body and nature; technology and nature, run throughout the exhibition.