Thursday, October 17, 19:00
Museum of Care
Encounter with Lotte Løvholm
How are museums vehicles for nation state building? And how are artists? ‘Museum of Care’ looks at a forgotten collection of artworks in Malmö Konstmuseum. The museum located in Southern Sweden received a donation from private donor Oscar Elmquist in 1939 with the purpose of establishing a ‘Latvian collection’ at the museum. Seven months later Latvia was first occupied by the Soviet Army, then Nazi Germany, and finally underwent 45 years of Soviet occupation. Many Latvians fled and in 1947 the museum exhibited Latvian exile artists and more artworks were added to the “Latvian collection”. The collection was on permanent display until 1958 and was then taken down and forgotten. ‘Museum of Care’ connects this collection of 45 Latvian artworks with Lotte Løvholm’s own family story in Latvia with her grandmother fleeing Latvia to Denmark and never talking about her home country.
Lotte Løvholm is an independent curator and editor from Copenhagen. She is the curator of ‘Le Soin des Possible / The Care of the Possible’ at 1.1 in Basel, ‘AUTO FLT AP OFF’ at X and Beyond in Copenhagen and ‘Algoritm’ at Kunsthal Aarhus. She holds a BA in Theatre Research and Performance Studies from the University of Copenhagen (2010), an MA in Modern Culture from the University of Copenhagen (2014) and graduated from the curatorial programme at Konstfack in Stockholm, CuratorLab (18/19). Previously she has been a curatorial assistant at Arken – Museum of Modern Art, research assistant for Maria Lind and Cecilia Widenheim at Malmö Konstmuseum, and from 2014-2017 she was the curatorial assistant to Solvej Ovesen and Bonaventure Ndikung in Berlin. She writes articles for exhibition catalogs and art journals including Kunstkritik, kunsten.nu and Peripeti Journal. She is the editor of publications ‘Say It Loud!’ (2016), ‘Marronage’ (2017), ‘Museum of Care’ (2019) and ‘The Care of the Possible’ (2019). Currently she is editing ‘Algorithm’ with Anne Kølbæk Iversen from Aarhus University as part of Contemporary Condition’s series, published by Sternberg Press.
Wednesday, October 16, 19:00
Josep Maynou: TIME
Editing Spaces, Part 3
Josep Maynou’s multidisciplinary approach is both performative and object based. It comes together as a form of contemporary storytelling, a fictional take on everyday life in the form of humorous ideas that expand onto his objects. The sculptures he makes are at once illustrations of these ideas, as much as they are props and stages where the narrative takes place. Maynou uses common domestic materials and practical tools that are often discarded or hidden to create anthropomorphous utensils. His projects are scenarios for action that allow both functionality and absurdity at the same time.
For his performance at TIER, Maynou will present TIME, a show set on a stage designed by the artist with some of the recurrent artefacts in his work that guide and provide a score for the live event. TIME is at once a performance, a song and a movie script: based on a hypothetical film about a graffiti artist who opens portals on the walls, it takes the word time as a form and plays with all its connotations in Maynou’s emblematic humorous act.
Josep Maynou (Barcelona, 1980) lives and works between Paris and Berlin. He studied Fine Arts at the University of Barcelona, Faculta de Belas Artes Porto in Porto and Middlesex University in London. His recent solo shows include To bow at the beginning not at the end (Collection Born, Munich), Leisure (Bombon Projects, Barcelona 2017), Thing1, Thing2 (Broken Dimanche, Berlin 2017), Things: To do (Beverly’s, NYC 2017) or The Ninja from Marrackech (Galerie Suvi Lehtinen, Berlin 2015). His work has been shown at group exhibitions such as Swamp Horses (Spirit Vessel, Espinavessa, 2019), Alpina huus (Le Commun, Geneve 2017), How to do things (Lehman&Silva, Porto 2017), My body doesnt like summer (Haverkampf Gallery, Berlin 2018), Black Garden (Galería Louis 21, Palma de Mallorca 2018), Hunter of worlds (SALTS Basel 2018); and art fairs such as Arco Lisboa, Code Art Fair Copenhague, and Sunday Art Fair London (2018). His most recent performances include Pane Per Poveri (Laatrac, 14th Documenta, Athens 2017, Making Public Program (Fundació Tapies, Barcelona 2017) and Material Art fair (Mexico City 2016).
One of the meanings of the word publication is to make something public. If the relations between local and global are regarded as a text that can be read through contemporary art practices, a pertinent tactic would be to substitute the idea of exhibition with publication. This means to understand exhibitions as narrative machines, as expanded books that can also unfold a set of other possibilities such as cross-temporal approaches, choreography of bodies moving through the extensive idea of text and support structures.
The work of the artists/curators invited to Editing Space develops from translations from texts to installations, from transitions between the written and the performative.
With: Discoteca Flaming Star, Alicia Kopf, Josep Maynou, Mattin and Laura Vallés
Supported by the program PICE of Acción Cultural Española
October 5. The making of a historiographical sculpture: an onstage documental exhibition of CCADDASM. Encounter with Rolando Hernández
|Saturday, October 5, 19:00
The making of a historiographical sculpture: an onstage documental exhibition of CCADDASM
Encounter with Rolando HérnandezThe making of a historiographical sculpture: an onstage documental exhibition of CCADDASM (Centro de Creación, Archivo y Difusión de Documentos de Arte Sonoro en México) will take as main characters some of the documents this institution has created/gathered through the last 4 years. This onstage documental exhibition will talk about some of the conceptual tools used to analyse and create an alternate historiography. In the hour and 30 minutes of duration we will see the different events/manifestations of sound practices that can take us back and forth from the XVIth Century to the XXIst Century in a nonlinear trip.
Rolando Hernández’s practice takes different tools from archive research, curatorship, writing, composition and art production. Since 2013 he is co-director and co-curator of Umbral, a project space and festival which gathers practices interested in sound experimentation. Since 2015 he runs the artistic institution CCADDASM (Centro de Creación Archivo y Difusión de Documentos de Arte Sonoro en México) which has created different projects to create an alternate historiography of sound practices in Mexico. As a composer, his work Topializ was studied for the PHD thesis “Componer la duración de la experiencia musical” from Santiago Astaburuaga and published by Marginal Frequency. He has been awarded with the first latinoamerican residency Tsonami Arte Sonoro/Casaplan for his criticised project Basuraleza Muerta Viva. He also received a merit scholarship to assist to the Curatorial Intensive of ICI (Independent Curators International) in Alumnos47 (MX City). His work has been published and presented at places, presses and labels like: Gauss PDF, Caduc, Theme Park for Ear, Impulsive Habitat, Tsonami Arte Sonoro, Festival CuatroXCuatro, Labor Sonor, FotoPhono, Fonoteca Nacional, Cha`ak`abb Paaxil/Multiple Tap, among others.
September 20. Berlin Art Prize: Garden Reading – Highrise Reading. Sophie Jung and Min-Wei Ting. Read by Susie Meyer
Friday, September 20, 20:00
Berlin Art Prize: Garden Reading – Highrise Reading
Sophie Jung and Min-Wei Ting. Read by Susie Meyer
A highrise housing project in Singapore is the protagonist in Min-Wei Ting’s film I’m Coming Up. During the screening of this slow walk through the building, texts and poems by various authors will be read, combining Ting’s poetic images with thoughts of other times and other places linked by the same life in a highrise building. Followed by a screening of Ting’s film You’re Dead to Me, in which a garden plays the leading role.
Read by Susie Meyer.
In English, French, and German
About Susie Meyer:
Susie Meyer is a German actress based in Berlin
Organized by Berlin Art Prize
September 10. Sung Tieu, with a text contribution by Karen Fiss. Objects Before and After the Wall, Part 2
Tuesday, September 10, 19:00
How does the presence of a wall change the status of the things and the people on each side of it? Approaching this question, artist Sung Tieu reads the text written by Karen Fiss about her work.
Sung Tieu, born 1987 in Hai Duong, Vietnam is an artist based between Berlin and London. Her artistic practice spans installations, performances and public interventions. Forthcoming institutional solo exhibitions include Haus der Kunst and Nottingham Contemporary (both 2020), forthcoming group exhibitions include the David Roberts Foundation (2019) and Prague Biennale (2020), forthcoming performances include Tate Modern. She is part of several art collectives, among them TROI OI, Asia Art Activism, The Forest Curriculum and East London Cable.
Her work takes place at the intersection of transnational movement, global capitalism and the cultural incursions of dematerialised art traditions. Her practice contends with issues of social class divide through the lens of her personal narratives and cultural membership.
Karen Fiss is a writer and curator whose current research examines nation branding in relation to the neoliberal mechanisms of globalization in the contemporary art world and its accompanying exhibition economies. In particular, she focuses on how citizenship and historical memory are commodified and visually produced in postcolonial contexts. Her past curatorial projects include Necessary Force: Art in a Police State (Art Museum of the University of New Mexico, Albuquerque, 2015, co-curated with Kym Pinder) and El cine de 1930. Flores azules en un paisaje catastrófico (Museo Reina Sofia, Madrid 2012). She is author of Grand Illusion: The Third Reich, the Paris Exposition, and the Cultural Seduction of France (University of Chicago Press, 2010), co-author of World’s Fairs on the Eve of War: Science, Technology and Modernity 1937-1942 (University of Pittsburg Press, 2015; with Robert Kargon, et al), and co-editor of Discourses: Conversations in Postmodern Art and Culture (with Russell Ferguson et al, MIT Press, 1990). She also contributes articles to a range of magazines on contemporary art, design and architecture. Fiss received her PhD from Yale University and her BA from Brown University. She is professor of Visual Studies and Graduate Fine Arts at the California College of the Arts, San Francisco. Prior to academic teaching, she worked in the curatorial departments of the Institute of Contemporary Arts, London, and the New Museum in New York City.
Objects Before and After The Wall
This project analyzes the wall as an object from different angles: thirty years after the fall of the Berlin Wall, twenty-five years after the signing of the North American Free Trade Agreement and in the geopolitical framework that requires research in Mexico it’s border condition with Central America and with the United States. The wall as an ideological space and the relationship between objects and walls. The notion of the liminal, the crack, the border and other possible unfoldings.
This event is part of a collaboration between Tlaxcala 3 in Mexico City, The Institute for Endotic Research and Berlin Art Prize. Objects Before and After the Wall is a collaboration between Tlaxcala 3 in Mexico City and The Institute for Endotic Research in Berlin. It has the 2019 sponsorship of the Fundación Jumex Arte Contemporéneo for theoretical and curatorial research.
The sixth Berlin Art Prize is supported by the Hauptstadtkulturfonds
Saturday, August 31, 18:00 – 22:00
Berlin Art Prize: Opening
Curated by Berlin Art Prize
Exhibition: September 1-27
Visiting hours: Thursdays to Sundays from 12 to 6 PM
Using slow, tranquil camera movements, filmmaker Min-Wei Ting (b. 1976, Singapore) traverses the city. His lens runs over concrete, infrastructure, and people, as if they were all objects on the metropolis’ assembly line. Yet, in the rigid rhythm of architecture and space, which are reflective of a regimenting power in Min-Wei Ting’s work, moments of the uncontrolled break through: bird calls trill over the hum of ventilation systems, greenery proliferates in the clearings between skyscrapers, people lose themselves in the crowds.
If for Nothing Else than for Sunday (2019) is a cinematic passage through Singapore’s Little India District. Twice, at different times of day, Min-Wei Ting follows the same route with the camera: during the calm that announces dawn and in the midst of a Sunday evening’s hustle and bustle, when large groups of South Asian migrant workers gather in the quarter. Ting interweaves the two shots, drawing attention to the gestures, actions, lights, and sounds that are sometimes there and sometimes not, giving the space a life of its own.
In Hampshire Road (2019), Min-Wei Ting allows his camera to trail along a single building in Singapore for seven minutes. At the Little India bus terminal, guest workers wait in a seemingly endless line at night for their shuttle back to the sleeping quarters outside the city. While the lens measures the length of the building, it increasingly detects how the architecture socially separates, monitors, and controls those that are waiting.
If for Nothing Else than for Sunday
Single channel HD video with stereo audio
39 minutes 35 seconds
Single channel HD video with stereo audio
7 minutes 4 seconds
The Berlin Art Prize was created in 2013 by four Berlin cultural producers to establish an award for Berlin’s artists beyond the art world economy. The concept is simple yet singular: The prize is open to all artists living in Berlin for six months or longer, names and careers are not taken into account, art is the only thing that matters. The prize functions as a subversive cover version of existing art prizes and offers an alternative structure with which art in Berlin can be appreciated, interpreted, and made public.
The sixth Berlin Art Prize is supported by the Hauptstadtkulturfonds
This year the Berlin Art Prize is hosted by 9 different project spaces, and TIER is happy to be one of them. Please join us for the opening on Saturday the 31st of September. The exhibition itself will run from 1 – 27 September, and can be visited Thursdays to Sundays from 12 to 6 PM.