Tag Archives: Julia Stoschek Collection

A.K. BURNS — ARTIST TALK AND SCREENINGS

As part of the Horizontal Vertigo program at the Julia Stoschek Collection in Düsseldorf, A.K. Burns will restage the first two episodes of Negative SpaceA SMEARY SPOT (2015) and LIVING ROOM (2017)—and premiere the third: LEAVE NO TRACE (2019).

Negative Space is a cycle of four interrelated multi-media installations. Conjuring and deconstructing science fiction tropes, Negative Space builds each episode around a physical system: the sun (power), the void/land, water, and body. The worlds within each video germinate from site-specific phenomena, building allegorical structures for each installation. This cycle of works raises questions about how value is allocated, with respect to resources, environmental fragility, marginalized bodies, and their relationship to place…

As a formal term in art, “negative space” denotes the unseen matter between and around the subject. The subject is the focus of our attention, a definable entity. Thereby negative space is considered subordinate to the primacy of the subject. What is compelling about negative space is that it is unfixed, malleable and ultimately an open set of possibilities. I use this concept of negative space as a proposal for re-orientation and an analogy for generating agency within a subjugated position. The premise of the Negative Space tetralogy is to envision a radical cosmology wherein hierarchical relations permute. A.K. Burns*

In mid-November, Burns will give an artist talk at JSCwith curator Lisa Long, and there will be multiple screenings of Community Action Center, the 2010 video by Burns and A.L. Steiner.

A.K. BURNS—NEGATIVE SPACE

Through December 15.

COMMUNITY ACTION CENTER

Friday through Sunday, November 15, 16, and 17.

Screenings at 12:30 pm, 2 pm, 3:30 pm, and 5 pm.

A.K. BURNS ARTIST TALK

Saturday, November 16, at 3 pm.

JSC Düsseldorf

Schanzenstrasse 54, Düsseldorf.

A.K. Burns, Negative Space, from top: A Smeary Spot, stills (6); A Smeary Spot installation view; Living Room, stills (2); Leave No Trace soundtrack, 2016, unlabeled vinyl record, black nitrile gloves, clear zip-lock bag, silkscreen in white ink with poem printed on reverse, 31:08 minutes, images courtesy and © the artist. A.K. Burns and A.L. Steiner, Community Action Center, stills (2) and, below, poster; images courtesy and © the artists.

ON LYOTARD’S IMMATÉRIAUX

This weekend, join Daniel Birnbaum, Sven-Olov Wallenstein, Hans-Ulrich Obrist, and Koo Jeong A in conversation at Frieze London for the launch of Birnbaum and Wallenstein’s new Sternberg Press book SPACING PHILOSOPHY: LYOTARD AND THE IDEA OF THE EXHIBITION.

Birnbaum and Koo will also be in Berlin a week later.

“In 1985, the philosopher Jean-François Lyotard curated Les Immatériaux at Centre Georges Pompidou in Paris. Though widely misunderstood at the time, the exhibition marked a ‘curatorial turn’ in critical theory. Through its experimental layout and hybrid presentation of objects, technologies, and ideas, this pioneering exploration of virtuality reflected on the exhibition as a medium of communication, and anticipated a deeper engagement with immersive and digital space in both art and theory. SPACING PHILOSOPHY analyzes the significance and logic of Lyotard’s exhibition while contextualizing it in the history of exhibition practices, the philosophical tradition, and Lyotard’s own work on aesthetics and phenomenology. Les Immatériaux can thus be seen as a culmination and materialization of a life’s work as well as a primer for the many thought-exhibitions produced in the following decades.”*

DANIEL BIRNBAUM SVEN-OLOV WALLENSTEIN, HANS-ULRICH OBRIST, and KOO JEONG A IN CONVERSATION*

Friday, October 4, at 4 pm.

König Galerie Booth (B2), Frieze London

Regent’s Park, London.

DANIEL BIRNBAUM and KOO JEONG A IN CONVERSATION

Sunday, October 13, at 3 pm.

Julia Stoschek Collection

Leipziger Strasse 60, Berlin.

See “Ontologies of the Virtual,” an interview with Birnbaum and Wallenstein.

From top: Jean-François Lyotard; 1985 exhibition poster, designed by Grafibus, image courtesy and © Grafibus and Centre Pompidou; book cover image courtesy and © Sternberg Press.