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


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

In their research and practices Eva Fàbregas and Andrew Lacon focus on particular patterns of circulation and production of meaning. Occupying very different positions, both artists share the approach of observing systems of mobility within western modernity, which they reproduce, disjoint and reconfigure. While Fàbregas’ work imagines modernity’s endless circulation of commodities existing outside of mankind’s control, Lacon’s work refuses to submit to the historic system of art object and its reproduction by interchanging the status of original and copy. For their exhibition at Kunstraum both artists have developed new work, which utilises or alters the given structures of the exhibition space.

In Settlement (2014) Eva Fàbregas uses patterns from found Scandinavian caravan brochures, reproduced to create the wallpapers that now decorate the walls of Kunstraum. In the brochures the caravans are presented not just as useful commodities, but as the modern life fantasy of a return to a primitive past. These mobile luxury entities are represented as a community of autonomous manufactured objects, which appear to have the ability to gather and organise themselves in relationship to one another.

Eva Fàbregas’ Untitled (2014) is a colony of swarming sculptures made from brightly coloured foam packing materials designed for protecting fragile items in transit. The foam pieces are an essential part of the global movement of commodities, but reaching their destination they are normally discarded. By attaching motors and sensors to the foam packing materials Fàbregas has, as is imagined in the images of caravans, enabled them to move around the space as a community of their own, existing within the circulation of objects but no longer in need of people to instigate their mobility.

The context for Andrew Lacon’s works in Kunstraum is his research into colour within the history
of sculpture and photography – loss of colouration on the surface of the Parthanon’s friezes or
the black and white reproductions of the brightly coloured Great Exhibition of 1851. Borrowing a technique of colouration used in classical sculpture courts to give warmth to bleached white marbles, the primary colours of 3 coloured lights at certain times of day fall on Reproduction of Sculpture – a photocopied reproduction of a Bernini sculpture, thereby reinserting the colour on the marble that was lost over time.
Andrew Lacon’s Reproduction of Sculpture brings into question the idea of an original and a copy. Disregarding the fetishisation of the photographic print, it will be re-photocopied for each new exhibition, thereby reducing the quality of the image. Just as the ever changing light conditions in the gallery make it impossible to capture the full duration of 3 coloured lights, Reproduction of Sculpture is featured here as a part of an infinitely degenerating image.


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