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Autumn at Grazer Kunstverein
20 September – 16 November 2018

Dennis McNulty

Dennis McNulty, Homo Gestalt, 2016. Photo: Rob Battersby

Dennis McNulty’s TTOPOLOGY is an evolving adaptive project that deals with the embodied experience of space and time within the built environment. Consisting of a series of sculptural works that extend into an audiovisual walk through the city, the project enacts a step by step excavation of reality. TTOPOLOGY activates the props and players, sentient or otherwise, who inhabit the covered walkways, underground passages, floating islands and vast, storied buildings of Graz. A midday tour (from Wednesday to Saturday throughout steirischer herbst) offers visitors the chance to experience the old city in a new way, encountering objects and scenarios along the route which are reconfigured to produce new associations and destabilise one’s habitual experience of time and space.

Wednesday–Saturday 12 noon

Dennis McNulty (b. Galway, Ireland) is an artist, music-maker and engineer. His work is informed by his background in electronic music, his training as a structural engineer and his studies in psychoacoustics (sound perception). McNulty works with a diverse range of media, often employing custom built hardware and software to produce AV works, sculptural installation and performance. Recent projects include TTOPOLOGY at VISUAL, Carlow (2018); anginging at Assembly Point, London (2018); Homo Gestalt at Bluecoat, Liverpool Biennial (2016); Lofoten International Art Festival: Disappearing Acts, Svolvaer (2015); A Leisure Complex, Collective Gallery, Edinburgh/Carnoustie (2014); and PROTOTYPES, Limerick City Gallery of Art (2014). Previous exhibitions include Performa 11 (2011), Encuentro de Medellin (2007) and the São Paulo Bienal (2008 and 2004). McNulty is artist in residence at CONNECT, Ireland’s research centre for future networks and communications where he is an active member of the Orthogonal Methods Group.

TTOPOLOGY by Dennis McNulty is co-produced by Grazer Kunstverein and VISUAL Carlow, with the support of an Arts Council of Ireland Project Award.

Anne Tallentire
Plan (…)

Anne Tallentire, Material Condition: Teil 1, 2016. Foto: Andy Keate

Anne Tallentire’s Plan (…) is an exhibition that builds on the artist’s ongoing concerns with precariousness and contingency in relation to the problematics of space and social agency. Tallentire’s approach is built on flux, mobility, observation and chance. She creates sculptural installations or spatial drawings by dismantling, re-figuring and re-ordering particular materials and systems, relating to a specific location, situation or social construction. Taking as her starting point the Terrassenhaussiedlung – an innovative residential complex in Graz – Tallentire engages in a meditation on structural detail. She explores dimensionality and mapping by using everyday building materials to transpose one physical space onto another. In representing abstractions of living and shared space, Tallentire questions the conditions that determine, regulate and shape patterns in daily life.

Anne Tallentire (b. Armagh, Northern Ireland) has lived and worked in London since 1986. Working across a range of media with assemblage, video, sound, text, performance and photography, her practice questions the significance of the mundane and overlooked in relation to cultural, social, and architectural contexts. Solo exhibitions and projects include Shelter at Nerve Centre, Derry (2017); AS FAR AS at Hollybush Gardens, London (2016); This and other Things at IMMA, Dublin (2010); Drift: diagram xiii at Void, Derry (2002); Dispersal (work-seth/tallentire) at Orchard Gallery, Derry (2001); and Instances representing Ireland at the Venice Biennale (1999). Group shows include Truth 24 Frames per second at Dallas Museum of Art ( 2017); Keywords: Art, Culture and Society in 1980’s Britain at Tate Liverpool (2014); At your service at Technisches Museum, Vienna (2013); Winter Garden at Flat time House, London (2014); Le Monde Physique at La Galerie, CAC, Noisy-Le-Sec, Paris (2011); and Neue Welt at Frankfurter Kunstverein, Frankfurt (2001). Tallentire is represented by Hollybush Gardens, London.

Anne Tallentire is supported by the Arts Council of England through the Artists’ International Development Fund.

Department of Ultimology
What Where

Image adapted from an expired patent for a shadow-less sun dial, 1972. Courtesy of the Department of Ultimology.

What Where is a new project by the Department of Ultimology. Ultimology is the study of that which is dead or dying, absent or endangered. As a methodology for creative and critical analysis, it is being applied to the cultural calendars of the people of Graz and Styria, in an attempt to measure the relationships individuals have with specific moments, events, traditions, rituals and practices unique to their environment. For example the project studies, amongst other things, the maintenance of traditional Styrian costumes (Trachten). A tailor-made questionnaire is available for visitors to reflect on folk or cultural elements specific to their own experience. Influenced by the structuring power of the seasons, the project takes its title from the last known play by Samuel Beckett, commissioned by steirischer herbst festival in 1983.

The first Department of Ultimology was established by Fiona Hallinan and Kate Strain as a university department in 2016 at Trinity College Dublin, Ireland. It continues to operate from its headquarters there at CONNECT Centre for Future Networks and Communications. In 2018, in cooperation with steirischer herbst, Volksfronten, the department established an Ultimology Working Group with artists/researchers Nina Höchtl and Julia Wieger in Graz, Austria.

What Where by the Department of Ultimology is commissioned by steirischer herbst 2018, Volksfronten, and produced by steirischer herbst and Grazer Kunstverein.

Triple Candie
If Michael Asher

Documentation image of Triple Candie: If Michael Asher, part of Summer 2018 at Grazer Kunstverein. Photography by Christine Winkler.

Triple Candie (Shelly Bancroft and Peter Nesbett) is a US-based, avant-garde curatorial production agency that collaborates with museums and contemporary art spaces on exhibitions about art but generally devoid of it. Throughout 2018 Triple Candie will produce a multi-layered investigation into the work and legacy of American conceptual artist Michael Asher, who often worked in the interstitial space between art and architecture.

Part II of Triple Candie’s engagement with Grazer Kunstverein (on view 7 June – 3 August) focused on the issue of value by looking at the relationship between Grazer Kunstverein and a newly adjacent patio-furniture business, Chillout Area. This resulted in display of some of Chillout Area's furniture in the reception area of Grazer Kunstverein, accompanied by the following process note:

Grazer Kunstverein is not visible from the street. To gain access to it, visitors must leave the street, step through a covered passageway sandwiched between two visual arts venues, proceed past a small open-air court, then through a second covered passageway, before arriving at a large central plaza, lined by the Grazer Kunstverein’s eight, floor-to-ceiling plate-glass windows on one side. The center of the plaza is occupied by a recently built, raised, landscaped terrace that showcases patio and garden furniture from an adjacent business. The Grazer Kunstverein’s displays are visible from the terrace, and the patio furniture is visible from the gallery. We are interested in the relationship between these two premises.

We propose that from 7 June to 3 August the Grazer Kunstverein collaborate with the garden furniture store to borrow and exhibit six Fermob Luxembourg chairs in its reception area. We request that the chairs be hung from purple strings on the wall in groups of three, following a storage recommendation from the manufacturer. In this way there are no aesthetic decisions imposed on the display by either gallery staff or ourselves. We further propose that during this period no Fermob Luxembourg chairs are to be displayed on the outdoor terrace, requiring clients of the garden furniture business to enter the Grazer Kunstverein to see them.

Note: The six Luxembourg chairs referenced in the above text were sold and removed by the lender two weeks before the project ended. They were subsequently replaced with four new cafe chairs instead.