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Proposition
Friday, July 13, 2018,
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SOME SHAPES OF THINGS TO COME IN CHAPTERS #5

The artist book „To Become Two – Propositions for Feminist Collective Practice“ by Alex Martinis Roe describes 20 propositions for a transgenerational approach to feminist politics.

The extract „Proposition #2 – A Republic of Letters developed with Åsa Elzén“ is part of the movie “Our Future Network” which is shown in the exhibition and documents the practice and potential of feminist collectives.

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Wednesday, June 27, 2018

SOME SHAPES OF THINGS TO COME IN CHAPTERS #3

On the 26 of may JENIFFER BENNETT (artist, Berlin), FOKUS GRUPA (artist collective, Rijeka) and ANJA KÜMMEL (author and journalist, Berlin) presented their book recommendations for the Bibliothek für Gesellschaftsdesignin the Kunstverein Harburger Bahnhof.

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Wednesday, June 6, 2018,
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SOME SHAPES OF THINGS TO COME IN CHAPTERS #2

Die Utopie von morgen? Ein Auszug aus "Bitch Doktrin. Gender, Macht und Sehnsucht." von Laurie Penny.

Kindern tischen wir mit schöner Regelmäßigkeit alle möglichen grausamen Lügen auf, aber besonders bezeichnend ist vielleicht diese...

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Wednesday, May 23, 2018,
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SOME SHAPES OF THINGS TO COME IN CHAPTERS #1

Megan Marsh über „Beyond Beach“ von Clara Winter & Miguel Ferráez mit Megan Marsh, Mexiko 2018.

In the month of January we took advantage of the deal that western society claimed to offer us: the resources to escape from it.

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Sunday, June 4, 2017,
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THOMAS BUTLER
Bianca Baldi - Eyes in the Back of Your Head

Bianca Baldi’s first German solo exhibition "Eyes in the Back of Your Head" at the Kunstverein Harburger Bahnhof looks to Germany’s little-known colonial past. In particular it examines the role of technology as a colonising tool in the colony of Togo.


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Wednesday, May 24, 2017,
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BENY WAGNER
Metaphors of Sight

Of our five senses, sight stands at a strange and marked remove. Compared to touch, taste, sound and smell, sight has a claim on the force of objectivity that has continuously been reinforced throughout history. Of course, when this supposed objectivity is held under any scrutiny, we find endless examples of its inconsistency and deception. But these tend to be regarded as exceptions to the rule.

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Tuesday, May 9, 2017,
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JALAL TOUFIC
Labyrinth

Both the man in the painting’s foreground and the diegetic painter in its background have their backs to the spectator. With some strain, the painter is turned toward the foreground figure, observing him in order to add the final touch to a canvas on which we see a representational rendition of his model also from the back! Although a straight line can be traced from the painter in the background to the figure in the foreground to the spectator, the two 180° over-turns undergone by the foreground figure, one away from the spectator he was facing and one away from the painter doing his portrait in the background, do not add up to 360° or cancel out, do not return him to his starting position: a labyrinthine circle.

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