Kunstraum exhibitions

I Like My Job Five

SOMA (Plus TRBE Recordings)
21 - 27 September, 2020

Binnie Sisters: The Muddy Clearing
Reopening July 3 - August 1

Julie Béna: The Jester & Death
January 10 - February 15

Dangerous Bodies: Barbara Kapusta
12 October - 16 November
(PV 11 October 6:30 – 9pm)

To Ailsa Rock
Beatrice Loft Schulz and Lindsay McMillan
14 June – 28 July

Something soft: Julie Béna, Susie Green, Deniz Ünal & Zoe Williams
13 April – 25 May (PV 12 April, 6.30–9pm)

Nils Alix-Tabeling
Le Bétyle d’Ail
19 January – 22 February 2019

Anna Hulačová
Graceful ride
29 Sept – 24 Nov 2018

Shelly Nadashi
The Avocado Vampire
26 April – 9 June 2018

Mary Hurrell
2 (Aerial)
9 March – 14 April 2018

Von Calhau!
12 January - 10 February 2018

Merike Estna
fragments from the shattered toe
29 September – 25 November 2017

Jennifer Tee
Structures of Recollection and Perseverance
1 July – 9 September 2017

Sophie Jung
Producing My Credentials
14 April – 27 May 2017

Olivier Castel
Communicating vessels
25 November 2016 - 11 February 2017

9 September – 5 November 2016

Jumana Emil Abboud
Haunted Springs and Water Demons in Palestine
14 May – 30 July 2016

Dorine van Meel
Disobedient Children
23 October – 19 December 2015

New Pabulum
Aline Bouvy and Simon Davenport
6 September - 10 October 2015

Alex Cecchetti
The printing house of hell
27 June - 22 August 2015

Barbara Visser
Manual/2: The Patient Artist
25 April – 13 June 2015

Unlearning to speak
Tyler Coburn, Luca Frei, Joachim Koester, Jacopo Miliani
28 February - 11 April 2015

Nicoline van Harskamp
25 October - 13 December 2014

Zin Taylor
The Tangental Zigzag
14 June – 26 July 2014

Eva Fàbregas & Andrew Lacon
Curated by Thomas Cuckle and Mette Kjærgaard Præst
26 April – 31 May 2014

Flirting, playing, eating, drinking, talking, laughing
with Søren Aagaard, Magnus Clausen, Robert Kjær Clausen, Simon Foxall, Steffen Jørgensen, Peter Larsen, Jørgen Michaelsen, Allan Nicolaisen, Carl Palm, Fredrik Paulsen, Anna Margrethe Pedersen, Merete Vyff Slyngborg and Ditte Boen Soria
Curated by Mette Kjærgaard Præst and Mette Woller
22 February – 5 April 2014

An Opal World
Rossella Biscotti, Priscila Fernandes, Jan Peter Hammer, Alberto De Michele
25 October — 30 November 2013

Late Nights & Early Mornings
Willem Besselink, Jacob Dahlgren, Edward Clydesdale Thomson, Florian & Michael Quistrebert, Relief Journal
21 June — 29 September 2013

Miles Thurlow
Variable Foot
20 April — 1 June 2013

Peter Wächtler
Celtic Dawn
22 February — 6 April 2013

Definitional Disruptions
with Nel Aerts, Filip Gilissen and Hedwig Houben
1 December 2012 — 2 February 2013

Jason Coburn
x ways to improve your y
28 September — 17 November 2012

View all


An Opal World
Rossella Biscotti, Priscila Fernandes, Jan Peter Hammer, Alberto De Michele
25 October — 30 November 2013

Each of the works – by Rossella Biscotti, Priscila Fernandes, Jan Peter Hammer and Alberto De Michele – in Kunstraum’s An Opal World has a single voice. Each describes systems of knowledge, cycles of endless repetition, the memories or visions to which thoughts returns. At times the words are inaudible, leaving us to imagine their content, at others the flow of speech is interrupted by editing, or by the interviewer’s rebuke. Wether an interior narrative or a public broadcast the four monologues trace the microcosms which the mind has the capacity to imagine.

The voice of Dik in Rosella Biscotti’s 16mm film ‘Yellow Movie’ utters a vision of a world in miniature, something glittering with richness, but utterly ruined. The film’s audio comprises of recordings of psychoanalytic sessions under the influence of the drug Pentothal, conducted between 1987 and 1991. The patient’s voice narrates what he sees, and these are terrible things. It is slowly revealed that it is not just the story and the vision of an individual, but our history, the events of World War II, that emerge between dream and waking. We are brought into Dik’s psyche in which the world which we occupy is tainted.

In Priscila Fernandes’ video ‘In Search of the Self’ the artist borrows the lecture format to outline a theory of the self as a collage of representations. But the artist’s voice is replaced with the sound of the chalk board, leaving us to imagine the lecture’s content, which is in fact, an incongruous collage of different thoughts (ranging from the Enlightenment individual to the Post- modern subject). By appropriating academic language and structures the work suggests how one can convincingly pass a message as authentic even when the elements are incongruent. For all it’s complexity the diagram represents a closed system of knowledge, a self-referential loop.

Shot in the guise of a YouTube homemade production, Jan Peter Hammer’s ‘The Fable of the Bees’ shows an eager young professional unwittingly channeling the controversial writings of 18th Century polemicist Bernard Mandeville. Mandeville’s 1705 poem of the same name championed the counter- intuitive argument that better people make the world a worse place, since so-called vices such as egoism or greed stimulate social prosperity, whilst altruism or honesty result in collective atavism and disinvestment. The character’s vision of society is absolute, there is no room for doubt in his understanding of the world around us. But it is an unpolished piece of theatre, the character is a vessel for someone else’s words, a foolish young man unknowingly repeating history.

Alberto de Michelle’s two-part work ‘Adriano’ gives a portrait of an Italian bank robber who, on the run from the authorities, was hiding out in Amsterdam for a period of four months, during which time he stayed in the artist’s home. The man reminisces about his experiences as an armed robber without a hint of remorse, but reflects poetically on his personal philosophy and morality with references to Molière, Lampedusa and Socrates. Adriano has spent time in prison and he describes it as a place without time, in which the dawn does not bring new hope. The prison is a for him a miniature version of society in which every element of civil life has its equivalent. Unlike in the story of Socrates and his wife Xanthippe, Adriano chooses exile, but he claims to remain an innocent man.

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