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Summer at Grazer Kunstverein
7 June – 3 August 2018

Nadia Belerique
On Sleep Stones

Nadia Belerique, Bed Island (Don’t Sleep), 2016
Installation detail, La Biennale de Montréal. Photo: Guy L’Heureux. Image courtesy of the artist and Oakville Galleries.

Nadia Belerique (b. 1982, Canada) is an artist based in Toronto, Canada. Her approach to sculptural practice is informed by her background in photography. Belerique’s installations engage with the complex nature of perception while questioning the role of images and their performativity in contemporary culture. Revisiting an earlier work titled Have You Seen This Man? Belerique’s new largescale installation at Grazer Kunstverein expands on ideas around time and movement, memory and impressions. The title of the exhibition is drawn from a prose poem by Canadian author Anne Carson, from her book ‘Short Talks’ (originally published in 1992). Short Talk On Sleep Stones ruminates on the last thirty years in the life of French Sculptor Camille Claudel. Nadia Belerique is represented by Daniel Faria Gallery, Toronto, and has shown internationally at venues such as Oakville Galleries, Gwangju Biennale, Tensta Konsthall and The Powerplant.

Nadia Belerique’s summer residency and production of new work is kindly supported by Canada Council for the Arts.

Christian Nyampeta
Words After the World

Christian Nyampeta, still from Words after the World, 2017
Image Courtesy of the artist.

Christian Nyampeta (b. 1981, Rwanda) is an artist based in New York, USA. He works across art, design and theory to interrogate ways of living together and to explore the complexities of being in common. His film Words After the World was commissioned by Camden Arts Centre, developed during his residency and later shown in his solo exhibition at the museum. During that time Nyampeta organised a scriptorium, or working group, established to translate Francophone texts by philosophers such as Bourahima Ouattara. This evolved into the production of a film script. The resulting work considers the potential of language and translation when faced with silencing and persecution. Currently preoccupied with the notion of ‘thinking’ and ‘writing’ Africa today, Nyampeta’s recent, ongoing and forthcoming presentations, exhibitions and contributions take place in Dakar, Philadelphia, Vancouver, Lesotho Kigali, and Stockholm.

Cesare Pietroiusti
Non-Functional Thoughts

Cesare Pietroiusti, Non-Functional Thoughts, 1997 edition.
Image courtesy of the artist.

Cesare Pietroiusti (b. 1955, Italy) is an artist based in Rome, Italy. His arts practice has been a major influence for a generation of younger artists working through conceptual practices. Pietroiusti’s background in psychology and interest in economics have informed his approach to art making. Through his work he often focuses on problematic and paradoxical situations that are hidden in common relationships and in ordinary acts. In 1997 he first published his booklet Non-Functional Thoughts. It contains approximately one hundred useless, unusual or incongruous ideas that may be realised as micro art projects by anyone. At a time when art is becoming increasingly instrumentalised, when people are being categorised and divided through polarising forces such as right and left, Non-Functional Thoughts serves as a timely instructional pamphlet on how to reconnect with individuals, from a perspective that is as playful as it is critical.

Triple Candie
If Michael Asher

Documentation image of Triple Candie: If Michael Asher, part of Spring 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 I of Triple Candie’s engagement with Grazer Kunstverein (on view 9 March–19 May) consisted of the speculative insertion of a wall in the midst of an active exhibition space, accompanied by the following process note:

The Grazer Kunstverein has occupied a number of buildings since its founding in 1986. It moved into its current location, the Palais Trauttmansdorff, in 2010, at first filling the main, barrel-vaulted gallery and the suite of rooms immediately to the east. The front door off the courtyard led directly into the main gallery. The administrative offices were located at one end, behind a white, freestanding, half-wall. In 2013, the Kunstverein added the adjacent space to the west. A passageway was cut behind the office area to connect the two units, the half-wall was removed, and the office and front door were relocated.

We are interested in how these changes to the Grazer Kunstverein’s architecture over time infiltrate visitors’ memories and impact their experiences and expectations. We propose re-situating the half-wall in the main gallery. It will sit in its original location, but it will no longer hide the office or exist in a neutral state as part of the gallery’s architecture. It will obstruct the new path of circulation, partially obscuring access to another exhibition in the same room.