< dienstag abend > no.83 Heraklion

Ismini Adami, Abdul Sharif Baruwa, Cäcilia Brown, Ana De Almeida, Marc-Alexandre Dumoulin, Baptiste Elbaz, Yael Fides,Thomas Geiger, Ipek Hamzaoglu, Matthew Halpin, Jessyca R. Hauser, Milijana Istijanovic, Lia Karl, Eirini Linardaki, Nektarios Pappas, Vincent Parisot, Catalina Ravessoud, George Rei, Nausika Riga, Maria Trabulo, Stewart Ziff

exhibitions / urban interventions in the city of Heraklion.

Friday 27th May 2016
Lakkos, ex-Xenia, Polykentro

For the event an international group of artists will create site-specific works in the historical suburb of Lakkos and nearby areas in Heraklion. The invited group of artists will arrive in Heraklion on 20th of May 2016, and during a week long residency will create installations, murals, performance acts and sculptures in the designated areas throughout the city.

The activities of < dienstag abend > deal with artistic practice itself – aiming to shift a large part of the emphasis from what is done to how it is done, directing the quest towards the visualization of the subtle balance between artistic practice and the works it produces. The concept of < dienstag abend > is raised upon three main axes: a collective practice, a site specific or contextual practice and the audience..

The idea of <dienstag abend> project in Heraklion is deeply rooted in the specificity of the area. Central suburbs in Heraklion have suffered from a symptomatic depopulation due to economic circumstances in recent years, a phenomenon that became visible as part of the urban landscape. This concerns predominantly the Lakkos district, amongst other effects illustrated by the real estate vacancy. The public space will be the venue for artists’ engagement on alternative forms of display and collaborative models – posing questions to the concepts of the autonomy of art, collective practice, cultural enrichment, gentrification and profit.

Prousts Fragebogen / Elektrohaus Hamburg

Julie Gufler / Elektrohaus Hamburg presents

Prousts Fragebogen
mit Arbeiten von Amalie Jakobsen (DK), Rosa Joly (FR), Phelim McConigly (IRE), Julia Metropolit (FR), Axel Stockburger (DE), Yuki Terasaka (JA)

Eröffnung Fr. 25.4, 19 Uhr
Austellungsdauer: 26.4 – 1.5
Öffnungszeiten: Sa. – So. 15-18 Uhr und nach Absprache
Pulverteich 13, Hamburg


Proust’s Questionnaire brings together the work of six artists working in different media who respond to important questions of culture with an emphasis on language and its transformative potential as an analytical movement that is at once combat and caress.
The form of the questionnaire was not originally intended for artists, but refers to social practices in the delicate salons and drawing rooms of 19th century Paris and London. In Prousts Questionnaire, the hybrid emerges in the steady and meditative repetition of homely questions. Are these artists in love? Yes, since they are waiting. As such, desire – which is to say the interstice between these artists and the Other – constitutes a transformative temporality from which new agency can become.


@ Medical Museum, Uni.Hospital Georgi Stranski, Pleven, Bulgaria

w/ Atanas Petrov Foundation

Brishty Alam, Minda Andren, Josefin Arnell, Anna Barfuss, Miriam Bethmann, Eva Egermann, Karine Fauchard, Benjamin Grodin, Bernhard Garnicnig, Lukas Heistinger, Ludwig Kittinger, Bernd Kräftner, Galya Krumova, Petya Krumova, Lazar Lyutakov, Phelim McConigly, Billie Meskens, Christoph Meier, Martyn Reynolds, Hans Schabus, Axel Stockburger, Mads Westrup


On the basis of an invitation in line with the 150 year Jubilium of the foundation of University Hospital “Georgi Stranski”, an exhibition titled “Appendix” shall take place with 22 artists and architects, working on site within various buildings of the hospital.

“Appendix” looks at various architectural, historical, political and economic possibilities, where artists produce works within the structures and buildings on site; making use of materials; interacting with medical staff and students, while working outside the traditional white cube spaces of contemporary art.

The hospital buildings and surroundings present a broad horizon of possible manifestations, from the skeletal structure of a building, provided a new skin through sculptural and materialistic interventions, or the former University building, to Bulgaria’s first medical museum, opened in 1965 – a modernist building designed by architect Atanas Petrov.

The participants work in various fields such as architecture, sculpture, new media, painting, performance and associated fields of research. The participants reside in numerous European countries presenting works through specific material, structure and some with concepts such as overtones of body politics, bio-politics, diagnostics, art and science, and more.

The very specific space opens questions on the function of institutions and their interaction with others, the historical aspects of medicine from Bulgaria’s political history or the changes introduced in post communist society, its modernisation and the associated complications.

The exhibition is funded by the Austrian Cultural Ministry.

“A new definition of the status of the patient in society, and the establishment of a certain relationship between public assistance and medical experience, between help and knowledge; the patient has to be enveloped in a collective, homogeneous space.” — Michel Foucault, The birth of the Clinic


По покана на университетска болница „Георги Странски“ във връзка със 150-годишния й юбилей ще се проведе изложба, озаглавена „Апандисит“ с 22 художници и архитекти, които ще работят на място в различни сгради на болницата.

„Апандисит“ разглежда различни архитектурни, исторически, политически и икономически възможности, при което художниците създават своите творби в структурите и сградите на място, ползвайки материали, взаимодействайки с медицинския персонал и студентите, работейки извън обичайния бял куб на пространствата за съвременно изкуство.

Сградите на университатската болницата и техните околности предлагат широк набор от възможни прояви – от скелета на сграда, който получава нова кожа чрез скулптурни и материалистични намеси, през бившата сграда на университета, до първия медицински музей в България, открит през 1965г. – модернистка сграда, проектирана от архитект Атанас Петров.

Участниците работят в различни сфери като архитектура, скулптура, нови медии, живопис, перформънс и свързаните с тях изследователски области. Участниците живеят в различни европейски страни и ползват в работите си специфични материали, структури, а някои от тях и понятия като нюанси на политика на тялото, биополитика, диагностика, изкуство и наука и др.

Силно специфичното място отваря въпроси за фукнцията на институциите и тяхното взаимодействие с другите, историческите аспекти на медицината от политическата история на България или настъпилите в посткомунистическото общество промени, неговата модернизация и свързаните с нея перипетии.

Изложбата се финансира от Министерството на културата на Австрия.

„…ново определение на статута на болния в обществото и установяването на отношение между подпомагане и опит, помощ и знание; болният трябвало да бъде обвит в колективно и еднородно пространство.“ – Мишел Фуко, “Раждане на клиниката”

Thankyou Martin Petrov for the translation.


Ludwig Kittinger – “On the evolution of cooperation I & II”
Benjamin Grodin – “How to dismantle a body”
Hans Schabus – “clothes line”
Martyn Alexander Reynolds untitled series
Bernd Kräftner from the series “Types of Helping”
Bernd Kräftner – “Department of Ontological Patchwork”
Eva Egermann – installation of Crip Magazine
Worldeater – Generics, Axel Stockburger (2015) Wallpaper B&W (360cm x 240cm)
Minda Andrén – untitled works for appendix
Anna Barfuss – Screen for “Paisley movements”
Lazar Lyutakov – “the incantation of empty events III”
Phelim McConigly “Radio Script corrections / opening at the medical museum, 1971 / 2015”
Karine Fauchard / Diashow ~ “A machine to tell at which age I get old” ~ Etude No.2



Vesch / ein Abend von Ludwig Kittinger

As a starting point, a Simulacrum, according to Baudrillard, is the mimicry of something which had no reality to begin with. The grid pattern, a neutral space exploited throughout the history of culture, has been reduced onto a surface nominally understood as painting.

Even with the removal of historical and cultural references, the paintings shown maintain a reference to themselves, a blank slate for cultural diversity.


interferece @ Akron Molecules / Vienna Bio Center

julie gufler, mads hvidtfeldt, phelim mcconigly, tom phelan, stefan reiterer, nikolaus suchentrunk, mads westrup, lea von wintzingerode, dario wokurka, amelie zadeh

Patterns that assume divergent or complementary views within similar spaces are often and consistently viewed as something from a scientific realm, but the theory also holds true for that of artistic positions that are multiple, digressive, confrontational, complementary or referential in their aspects of discussion, from theoretical considerations to anti-formal spatial compositions.

The visualisation of interference patterns, irrespective of the artists’ individual opinions, tend towards complex investigations of those references, that emerge through the parameters of referential as well as phenomenological approaches.

Interference patterns emerge when multiple subjective artistic opinions transform their mutual presence through re-organization of space and reorientation of the spectacle of exhibition into one where the individual outset can find unexpected combinatorial potential. In this sense, ‘interference’ displays a momentum of exchange through multiple positions.

To comprehensively describe the relationship existing within the show, it is necessary to involve the relationships of convergent and divergent positions on aesthetics, orientation and depiction of space. These are not a series of parallel positions, but rather a field of view that emerges from the juxtaposition of these points, the ebb and flow of the language of aesthetics towards simple visual structures, such as those seen in interference patterns. They are produced from multiple origins, reference social or historical epochs, and seek new directions in understanding.