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ANTJE SCHIFFERS, JENS HAANING06 July 2007 - 09 September 2007 ANTJE SCHIFFERS: Itinerant painter, maker of flower graphics, factory artist—Antje Schiffers looks for roles which assign her tasks in a wide range of contexts, locally and in distant lands. Schiffers is interested in becoming acquainted with other realities and cooperating with different segments of the population, organizing each contact as a barter in which she trades the products of her artistic work for public commitment, texts, videos, or hospitality. For the Secession, Antje Schiffers is developing a new project in which she focuses on the world of farmers in Lower Austria, offering them paintings of their farms in return for videos of their work, families, markets, views on agricultural policy, etc.. She also draws attention to formal and dramaturgical aspects with regard to the images and commentary chosen by the farmers in their films. Schiffers paints her pictures in situ, providing an opportunity for conversation and assistance. The use of barter evokes a romantic image associated with both the farmer and the artist. Her tour of villages as a “court painter” is an enchanted notion. But it also allows Schiffers to experience areas and styles of life she would not otherwise have access to. As a painter exploring various milieus, she examines the expectations of those she meets concerning painting and concerning the artist.Antje Schiffers (born in 1967 in Heiligendorf) lives and works in Berlin. JENS HAANING: The Danish artist Jens Haaning deals primarily with the question of how a society constitutes itself and how power is expressed and communicated within it. Haaning sounds out the political in art at the interface between institutional context and social reality, and between the cultural mission of an institution and the individual value of an artwork. Haaning focuses in particular on immigrant integration processes, highlighting the cultural complexity on both sides. For Office for Exchange of Citizenship (Secession, 1997; Galerie für zeitgenössische Kunst Leipzig, 1998), Jens Haaning used a legal gray zone to take institutional positions of power to absurd lengths. Individuals interested in changing their nationality could obtain advice from lawyers in a specially created office. Foreigners free (1997) is situated in a similar context: at public institutions as theaters, swimming pools, and museums whose ticket desks had signs saying “Ausländer frei,” foreigners were allowed in free of charge. Haaning did not make explicit to visitors whether this ambiguous phrase was meant in the xenophobic sense of “no foreigners” or as a generous gesture of hospitality—thus demonstrating how fragile the basis for internationalism and global thinking is in our society today. In his work, Haaning is not interested in the grand gestures of someone who thinks they can set the world to rights. He always operates with exemplary, everyday situations that are familiar to public and individual consciousness. For only where there is knowledge and awareness can there be change. Jens Haaning (born 1965) lives and works in Copenhagen. Location:
Secession
office@secession.at Phone: +43 (0)1/ 587 53 07 Fax: +43 (0)1/ 587 53 07- 34 Friedrichstraße 12 1010 - Vienna, Austria http://www.secession.at Sponsors:
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