April 11, 2018

disassociated press

Dahlberg 69 / Kajsa Dahlberg 69


Dahlberg, 69, /, Kajsa, Dahlberg, 69

Dahlberg 69 / Kajsa Dahlberg 69
25th May - 14th July

Neuer Aachener Kunstverein

In which the artist works. In Roccasalva’s work painting is the constant centre of an ever-expanding constellation of different media. The artist’s work encompasses disparate elements such as sculpture, video, neon lighting and tableaux vivant, which always find their point of departure and their conclusion in painting.  The common subject of the different works are Roccasalva’s personal visions, which are influenced by the circumstances and coincidences that he encounters in each new context.  Often a work bears traces of something that has preceded it: there is a constant referring to iconographies, which repeat themselves in various ways and generate new situations. In his exhibitions the flow of information is arranged in different “stages” which are formally closed and autonomous, but also need to be seen as an important part of a wider process. Fluidity and solidity, they pursue one another and interweave till they crystallise in the two-dimensional dynamic of the “processor”: the painting.

F.E.S.T.A. is a project that reveals the intrinsic relationship between artistic activity and the concept of “inactivity,” which isn’t an absence of work/activity rather a mode of potentiality which is not exhausted in the work. The exhibition is an assertion of this dimension suspended between “work” and “non-work.

” Each piece declaims in different ways the material presence of a void, the manifestation of the absence on which Roccasalva’s work is paradoxically based. Roccasalva (lives and works in Milan) has attracted international attention through his participation in the 53rd Venice Biennale and his contribution to Manifesta 7; most recently, the artist’s work was shown in a comprehensive solo show in Le Magasin, Grenoble. Exhibition tours: 19 February and 19 March at 5pm Catalogue: A catalogue will be published to accompany the exhibition.   With texts by Nancy Adajania, Ali Akay, Emin Alper, Ruben Arevshatyan, Vardan Azatyan, Hrach Bayadyan, Derya Bengi, Boris Chukhovich, Keti Chukhrov, Yasmina Dekkar, Daho Djerbal, Catherine Dossin, Bassam El Baroni, Tarek Elhaik, Mohamed Elshahed, Ali Essafi, Vigen Galstyan, Ahmet Gürata, Vardan Jaloyan, Ana Longoni, Sohrab Mahdavi, Toni Maraini, Matko Meštrović, Viktor Misiano, Iva Nenić, Fatih Özgüven, Lívia Páldi, Ozren Pupovac, Speranţa Rădulescu, Oleksiy Radynski, Yehuda E. Safran, Rasha Salti, Georg Schöllhammer, Catrin Seefranz, Dubravka Sekulić, Jaime Vindel, Mohanad Yaqubi, Ala Younis, and artists’ inserts by Graciela Carnevale, Andreas Fogarasi, Porter McCray, and Rayyane Tabet. Sweet Sixties is a long-term trans-regional research initiative working between art, research, media, and educational contexts in Europe, the Middle East, western and central Asia, Latin America, and northern Africa. Involving a particular group of experimentally oriented arts and research groups as well as individual artists, researchers, and media, Sweet Sixties investigates hidden histories or underexposed cultural junctions and exchange channels in the revolutionary period of the 1960s.

In the 1960s, the landscapes and cities of protectorates and former colonies from India to the Maghreb, from the Soviet Republics to the new states in the southern hemisphere were replete with the spirit and forms of modernity, forms that transmogrify and then dissolve into the thin air of the vernacular. The star maps that are used to survey these artificial worlds often serve to navigate the boundaries between private and public domains. The world full of eerie displacements, gestures of the uncanny, and the constellation of the real exists in a plethora of doubled forms. Question marks and meanderings are all part of this picture. Instruments of communication emerge and are locked away before they have a chance to become immaterial, disappear, and corrode in postmodernity. The air of the 1960s echoes a spirit of emancipation. And the newly arising art-scapes are interspersed with double agents: diasporas bring their academies; the streams.

Disassociated Press Release is an art work by Jonas Lund made for the Out Of Office exhibition.
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