Galerie Raum mit Licht


curated by_vienna 2015 | curated by Ruth Noack

KünstlerInnen: Gerd Arntz, Wu Dandan, Ines Doujak, Tina Gverovic, George Osodi, Koen Theys, Willem Oorebeek

Opening: Thursday 10 September 2015 18.00–21.00
Exhibition 11 September – 17 October 2015


It is just as possible to make a non-feminist exhibition with feminist works of art, as it is to make a feminist exhibition with non-feminist art. Similarily, not every text that proclaims an interest in finding out how "artistic imagination and poetic practices can help us accelerate the entry into a post-capitalist society" (Amen Avanessian) manages to instill in its readers an understanding of basic concepts like contemporary art, practice, capitalism, society or, in fact, a grasp of how these concepts might inter-relate. To quote Nina Power quoting Alberto Toscano on a similar discussion: "... it doesn't necessarily translate into anything that would be recognisably a theory."
Let's cast aside theory for now and think about politics. Many will agree that art works can contribute to the analysis of the status quo and possibly even express a desire for another form of sharing this planet, one that does not deny "the difference of conflict, contradiction, competition, privilege, or antagonistic political views or interests."(Antke Engel) But are these tools political in themselves? A politics needs practical ways of changing power relations and modes of governance and for this, it needs people willing and able to act jointly upon them.
This exhibition does not proclaim itself political. Nor do its art works conform to an idealist accelerational paradigm. Where the artists consider contemporary forms of production, distribution and consumption, they do so with concrete instances of injustice, exploitation and alienation in mind. But an equal emphasis is placed on modalities: What do crisis, currency and consumption imply, beyond their capitalist meaning? What kind of materials are they and how can they be transformed?

Tina Gverovic has produced a new work for the show, reacting to art by Gerd Arntz, Ai Weiwei (in absentia), Lili Dujourie (in absentia), George Osodi, Koen Theys, Wu Dandan, Willem Oorebeek and Ines Doujak.


*1964 in Heidelberg, lives an works in Berlin

Ruth Noack  trained as a visual artist and art historian, she has worked as author, art critic, university lecturer and exhibition maker since the 1990s.

Noack was curator of documenta 12 (Kassel, 2007). Other exhibitions include Scenes of a Theory (The Depot, Vienna, 1995), Things We Don’t Understand (Generali Foundation, Vienna, 2000), Organisational Forms (Kunstraum Universit.t Lüneburg; Škuc, Ljubljana; Hochschule für Graphik, Leipzig; 2002−3) and The Government (Witte de With, Rotterdam; MAC, Miami; Secession, Vienna; 2005). In 2012, she provided Garden of Learning (Busan Biennale) with its exhibition layout and curated Ines Doujak's first solo show in England, Not Dressed for Conquering – Ines Doujak’s Loomshuttles/Warpaths (RCA, London). This year, she curated a segment of "Voice - Creature of Transition (Rietveld Academy, Amsterdam). Presently, she is working on Sleeping with a Vengeance − Dreaming of a Life and on Fragments and Compounds (Ethnological Museum, Berlin; Johann Jacobs Museum, Zuerich).
2012-13, Noack headed the Curating Contemporary Art programme at the Royal College of Art, London and acted as Research Leader for the EU-project MeLa - European Museums in an age of migrations. She was a guest professor at the Academy of Fine Arts in Prague in Winter 2013-14 and lead the Gwangju Biennale International Curator Course 2014.
She recently published Sanja Ivekovic,: Triangle for Afterall Books and Agency, Ambivalence, Analysis. Approaching the Museum with Migration in Mind, for the Politecnico di Milano (both 2013).