SJT – Soeng Joeng Toi at SYNNIKA

280590225

SJT
by Soeng Joeng Toi
August 3 – September 26, 2019
at SYNNIKA, Niddastraße 57, 60329 Frankfurt am Main, http://www.synnika.space
Introduction on Friday, August 2, 2019, 17:00 – 19:00
Opening with food and drinks at 19:00 – 21:30
Workshop on Saturday, August 3, 11:00 – 13:00
SJT Film screening and discussion on Tuesday, August 13, 20:00 – 23:00
Regular opening times: Sundays and Tuesdays from 16:00 – 18:00, and by appointment (hello@synnika.space)

SoengJoengToi (SJT) is a platform in Guangzhou (CHN) founded in 2017. It stems from the needs of artists for a mutual practice space. SJT is located in Changgang subway station, Haizhu District, embedded in a community of local inhabitants. So far, 13 long-term practice projects have been stationed at SJT. The newly founded SYNNIKA space in Frankfurt am Main invites SJT to setup a temporary branch of its organization in Frankfurt. At SYNNIKA the group presents its membership model as well as their artistic practice. The installation features various SJT-related projects such as Fong Fo, Folding Room, Traveller, the Band Hellkitty, BenGuangDaHuaLang, Theater 44, the Round Table Group, with various newspapers, catalogs, self-published zines, publications and videos. On Friday, August 2, 2019 at 17:00, an introduction by independent curator and SJT-Member Li Xiaotian will offer the public an opportunity to have a first view as well as conversations with the artists, followed by an opening event with drinks and food at 19:00. On the day after the opening SJT will host a discussion on the current political conflicts in the Chinese Pearl River Delta.

上阳台项目空间(开张现场,摄影:张超)

From International Trade War to Mass-Demonstrations in Hong Kong
– observations of everyday life in the South of China
Workshop with SJT on August 3, 2019, 11:00
at SYNNIKA, Niddastraße 57, 60594 Frankfurt am Main

Millions of people recently took the streets in Hong Kong protesting against a new law which would allow extradition to mainland China. The introduction of this law is widely seen as the Chinese government in Beijing strengthening its control over the former British colony. Hong Kong’s economical, social and political relations with the Mainland are manifold and inseparable from China’s industrial ascendance in becoming the „Workshop of the World“. On the other hand, Mainland China’s economy is facing many difficulties while undergoing major changes. It is still heavily relying on hundreds of millions of migrant workers toiling in its factories and precarious service jobs. The trade conflicts with the US signal that China’s export and depth fueled growth model is increasingly difficult to maintain. In this workshop we want to take a closer look into these tendencies. How do they relate to parallel developments in Europe? How can we relate to the class conflicts in the South of China?

Further reading: http://chuangcn.org/2019/06/winter-is-coming/

1400x-1

SJT Moonlight Film Screening
on Tuesday, August 13, 20:00
at SYNNIKA, Niddastraße 57, 60594 Frankfurt am Main

Fairyland yet to dream: archeological site of Guangzhou Children’s Park (2019), 07’04,
by Xin Wei
This short video is inspired by the Guangzhou Children’s Park that was demolished in 2001 due to the excavation of the ruin of Nanyue Kingdom Palace. Wei used it as a narrative framework, linking it to the discussion on how homogenized methods of production compose contemporary happiness.
Xin Wei (born 1992 in Guangzhou) currently lives and works in Guangzhou and Shanghai. He graduated from the School of the Art Institute of Chicago. He creates research-based narrations using mixed media, including writing, programing, sculpture, and moving image. His recent research is primarily concerning with the production logistics behind everyday objects that carry messages of social class and exist within the society of spectacle. He purchases small projects from online retailers and commissions factories around China to witness their work process. With these actions, he attempts to create a re-narration of the production-consumption-production circle.

Burning (2019), 10’07’’,
by Ou Feihong
A young beautiful mother is taking care of her children while sorting out pigwash in the suburb of Guangzhou. She said, there was no other way for us. The overall environment has tightened and deviated to the right since the end of 2017. Looking around and seeing all evil, incapable as I am, can only go to the ruins to paint and set them on fire. Cast: He Quan, Xie Shaoya, Liang Manyong
Ou Feihong is a Freelancer, currently working and living in Guangzhou, China.

Those Squares (2019), 21’08’’,
by Lu Xinyang
“Will you still experience nostalgia when the world starts to forget everything? Will you believe in the power of daydreaming? Will there be an explanation to everything that exists or has disappeared? Will you still remember those everyday feelings? This video documents the changes and memories that take place by the roads – just a small corner of a big city.”
Lu Xinyang is an illustrator but now makes videos for documentation. She is a video game lover, an ordinary and friendly person, daydreaming in her conservative daily life.

Occupy Qing Xi Park (2017), , 07’42’’,
by Zimu Zhang
“I returned to the small town Qing Xi where I grew up and documented how migrant workers were utilizing the public space, particularly the town park in their leisure time. They performed a certain type of occupation of the park (time, space, mind…). Together with participatory filming from the workers and my own reminiscence, the video serves as an affective archive of the world factory coming to an end.”
Zimu Zhang is a moving image practitioner and researcher. She is currently conducting her PhD research at City University of Hong Kong. Her research focuses on the conjunction of moving image with new materiality and the society of control. She is also active in film curating, alternative space building and socially engaged art practices. She is the co-founder of the Moonshine Screening Project, one of the proprietors of the co-organized space Soeng Joeng Toi in Guangzhou.

11sjt

《浮园遗梦:广州儿童公园遗址》, 07’04 (2019)

简介
这个短片是关于2001年因南越王宫遗址的挖掘而被拆除的广州市儿童乐园。艺术家以此作为框架,去链接当下的世俗间的快乐是以何种同质化的生产方式去达到的。

辛未:
1992年生在广州,本科毕业于芝加哥艺术学院,现生活和工作在上海广州两地;他的媒介囊括写作,编程,雕塑,影像等多种混合形式,以完成他相关研究的复合叙事。辛未近期的研究主题主要关注景观社会之中具备阶级特征的日常物品生产逻辑。他最近经常就通过网络购买各类小商品和对全国各地工厂下各类订单以推进工作进度,并在其中展开生产-消费-生产这一轮回的再叙述。

《燃烧》,10’07’’ (2019)

简介:一个年轻美貌的妈妈在郊野之地一边带养小孩一边分类猪食,她说,我们都是没有了办法。

2017年底大环境极速收紧转右,转项顾盼,恶象环环,人生无能,唯剩入废墟画画放火。

出演:何泉、谢少亚、梁曼勇

欧飞鸿:
自由职业, 目前工作生活于中国广州
(ins:oufeihong)
《广场的角落》, 21’08’’ (2019)
在这个时代,好像一切都必须要是新的,旧的东西很快就会被抛弃,什么痕迹也不会留下。一切也好像必须是快乐的,不快乐的东西会被轻易遗忘,否则痛苦不会有尽头。习以为常到不值得怀念的东西,有一天会突然随着看不到的规则或者纠纷人间蒸发。“我曾纪录的这个大城市某处角落的景象,甚至在我纪录它的时候,它就不应该在那里。”
卢心洋
她是一个有一定纪录片工作经历的插画师,现在开始尝试独立制作纪录短片。她喜欢电子游戏,是个普通而友善的人, 总是在局促的日常生活中做白日梦。

《占领清溪公园》, 07’42’’ (2017)

我回到我所成长的东莞小镇清溪,通过个人纪录及参与式拍摄,考察外来务工人员如何在节假日期间对所在的打工城镇公共场所,即位于清溪镇中心的清溪公园进行利用以及某种程度上的占领(时间,空间,心理等)。串联起来的影像素材和我对自身成长的回忆一起成为这一世界工厂尾声时期的情态档案。

张子木:
动态影像实践者和研究者,目前在香港城市大学进行博士研究,专注于动态影像和新物质性、控制社会的结合地带。她也活跃于电影策划,替代性空间建设和社会参与性艺术。她参与运行的“月光放映计划”,是广州共治空间“上阳台”的业主之一。

513169288

Advertisements
SJT – Soeng Joeng Toi at SYNNIKA

OK NO – Claire Fontaine at SYNNIKA

clairefontaine_ok_no_graphic.jpg

OK NO
Claire Fontaine
June 16 – August 1, 2019
Opening June 15, 19:00 – 21:00
Workshop with Claire Fontaine on June 16, 17:00 – 20:00
at SYNNIKA, Niddastraße 57, 60329 Frankfurt am Main
http://www.synnika.space
hello@synnika.space

The first intervention at the SYNNIKA space in Frankfurt am Main’s Central Station district is an installation by feminist collective artist Claire Fontaine entitled OK NO (2019). The exhibition presents a newly developed site specific work to be discussed in a workshop with Claire Fontaine on the day after the opening, June 16 (17:30 – 20:00) in the SYNNIKA space.

Claire Fontaine was founded in 2004 in Paris, currently living and working in Palermo. Her practice ranges from sculpture to installation, from painting to text and video. She describes herself as a “ready-made artist” problematizing the concept of authorship as well as traditional forms of artistic subjectivization. Claire Fontaine also experiments with collective protocols of production, hijacks and the distribution of intellectual and private property. She tackles the problems of ownership and identity as foundational aspects of contemporary life.

SYNNIKA is an experimental space for practice and theory in Frankfurt am Main’s Central Station district. We invite artists, activists, newcomers and residents to put into question their, and our, surrounding urban reality. SYNNIKA itself has evolved from the critical engagement with the drastic urban developments of recent years. We are located in the ground-floor of the NIKA.haus, a former office and store building at the intersection of Niddastrasse and Karlstraße. Through the initiative of its current residents the building was communalized via integration into the trans-regional Syndicate of Tenements. As isolating as the current urban realities might appear to its inhabitants, they are at the same time globally comparable. Thus we are interested in linking up with protagonists from different regional contexts. We host visual interventions, workshops, discussions, meetings and other formats relating to this environment. SYNNIKA was initiated by the Realism Working Group in collaboration with the NIKA.haus.

 

OK NO – Claire Fontaine at SYNNIKA

KUNST DER REVOLTE // REVOLTE DER KUNST

Kunstderrevolterevoltederkunst_Image.png

Eröffnung 08. März, 19 Uhr
Studierendenhaus
Campus Bockenheim
Mertonstraße 26-28, 60325 Frankfurt am Main
21 Uhr Performance
Anna McCarthy: How To Start A Revolution: The Musical

Künstler*innen: Claudia von Alemann, Thomas Bayrle, Bazon Brock, Jonas Englert, Harun Farocki, Frankfurter Hauptschule, Karina Griffith, Barbara Klemm, Alexander Kluge, Anna McCarthy, Charlotte Moorman + Nam June Paik, outside the box, Realism Working Group (Jessica Sehrt, Martin Stiehl, Jeronimo Voss), Hartmut Rekort, Peter Roehr, Jörg Thums, Abisag Tüllmann, Inge Werth, Wolf Vostell, Holger Wüst, Frauke Zabel u.a.

Kuratorinnen: Michaela Filla-Raquin und Andrea Caroline Keppler

Die Ausstellung Kunst der Revolte // Revolte der Kunst beleuchtet 50 Jahre nach ‘68 die Wechselwirkungen zwischen künstlerischer Praxis und politischem Aktivismus in Frankfurt. Mit dem Fokus auf die lokale Kunstszene und emanzipatorische Initiativen vor und nach 1968 widmet sich die Ausstellung bislang weniger beachteten Akteuren*innen der 68er-Bewegung(en). Sie erweitert die Perspektive auch um einen feministischen und dekolonialen Blickwinkel und bezieht Gegenwartskunst als wichtige Produzentin aktueller Erinnerungskultur mit ein. Neben Werken damaliger Akteur*innen werden künstlerische Positionen vorgestellt, die Aspekte und Ideen der 1960er Jahre in Bezug auf ihre heutige Wirksamkeit befragen und weiterführen.

Als Ort der legendären Student*innenbewegung ist der Campus Bockenheim der Goethe-Universität Frankfurt längst ins kollektive Gedächtnis eingegangen. Vergessen ist jedoch, dass die Frankfurter Universität in den 60er Jahren auch Schauplatz einer ästhetischen Revolte war. Hier entwickelte sich in Auseinandersetzung mit Vertretern der Frankfurter Schule kritisches Bewusstsein, das in kollaborativen, künstlerischen Experimenten seinen Ausdruck fand. Hier führten Protagonist*innen der Fluxus- und Happening-Bewegung wie Bazon Brock, Wolf Vostell, Nam June Paik und Charlotte Moorman Aktionen durch, die studentische Protestformen vorwegnahmen. In der Ausstellung zeigen Arbeiten jüngerer Künstler*innen – raumgreifende Installation, Video, Performance, Fotografie und diskursive Formate –, dass die damals erprobten Formen von Selbstbestimmung, kritischer Intervention, solidarischem Miteinander und Kollaboration längst nicht erschöpft sind. Angesichts gegenwärtiger, gesellschaftlicher Entwicklungen suchen sie nach Alternativen und Möglichkeiten der Revolte.

www.kunstderrevolterevoltederkunst.de https://www.facebook.com/events/117173485777126/

Bild: Nicht löschbares Feuer © Harun Farocki 1969 – 19.6.1969 BRD Uraufführung Hörsaal V der Goethe-Universität, veranstaltet von der Basisgruppe Technologie und Auftragsforschung

Orte der Ausstellung:

Studierendenhaus
Campus Bockenheim
Mertonstraße 26-28, 60325 Frankfurt am Main und

Dante 9
Ausstellungsraum des Universitätsarchivs Frankfurt
Dantestraße 9, 60325 Frankfurt am Main

Öffnungszeiten:
Do, 16-20 Uhr, Fr-So, 14-18 Uhr
Eintritt frei

Ein Projekt des Offenen Haus der Kulturen e.V.

In Kooperation mit dem Universitätsarchiv Frankfurt, der Hochschule für Gestaltung Offenbach, der Goethe-Universität Frankfurt, dem AStA der Goethe-Universität, der Hessischen
Theaterakademie und weiteren mit dem Kulturcampus verbundenen Institutionen und Initiativen sowie District Berlin.

 

KUNST DER REVOLTE // REVOLTE DER KUNST

Offices to Living Space

 

offices to living space

Montag, 12. Juni 2017, 11:00 – 18:00, Niddastraße 57, Frankfurt am Main

Die Realism Working Group präsentiert im Erdgeschoss der Niddastraße 57 das Video “NIKA.haus”. In dem selben Gebäude, Niddastraße Ecke Karlstraße, wird das Hausprojekt NiKa entstehen – die Gewerbeflächen werden umgewandelt in ein Gebäude das über die Eigentumsstruktur des Mietshäuser Syndikats dauerhaft von den Dynamiken des Immobilienmarkts entkoppelt wird. Eingebettet in die Fakten über den Leerstand in Frankfurt am Main und des Frankfurter Bahnhofsviertels skizziert die Gruppe das Modell einer Gesellschaft der Syndikate.

Das Screening findet statt im Rahmen von “Korrekturen. Kunst für den Öffentlichen Raum”: http://partnerschaft-demokratie-ffm.de/korrekturen

Offices to Living Space

End of Pain?

14316978_10154489764458498_2551239598754152937_n

Husslehof freut sich Einblicke in die Arbeit von Jessica Sehrt und der Realism Working Group geben zu dürfen. JS arbeitet an der Schnittstelle zwischen Biowissenschaften, zeitbasierten Medien, Klanginstallationen und Malerei. Unter dem Titel “End of Pain?“ verhandelt sie das Thema Reproduktion in Technologie, Biologie und Kunst. Die RWG stellt dieses Thema in den Kontext gemeinschaftlicher Arbeits- und Wohnkonzepte.

Eröffnung 15.09.2016
Ausstellung 16.09.2016 – 16.10.2016
Workshop 14. – 16.10.2016
mit Realism Working Group, Freunden und Gästen

Husslehof is pleased to show works by Jessica Sehrt and the Realism Working Group. JS works on the treshold between natural sciences, time-based media, sound installation and painting. In “End of Pain?” the artist deals with reproduction in technology, biology and art, while the Realism Working Group transfers the topic to the context of collective working and living concepts.

Opening 15.09.2016

Exhibition 16.09.2016 – 16.10.2016

Workshop 15.10.2016
with Kerstin Stakemeier (Berlin) and Jessica Sehrt, Martin Stiehl, Jeronimo Voss, and Felix Große-Lohmann (Frankfurt am Main) at Husslehof, Frankfurt am Main.

We will discuss central arguments of „REPRODUCING AUTONOMY – Work, money, crisis & contemporary art“
by Kerstin Stakemeier & Marina Vishmidt

Language of discussion: German/English

Participation is free, please register at:
hello@realismworkinggroup.org

Time schedule:
11:00 _ text reading
12:00-02:00_ discussion with Kerstin Stakemeier
03:00_ q&a with Jessica Sehrt
04:00_ drinks & discussion

Contact:
Husslehof
Koblenzer Straße 12
60327 Frankfurt am Main
0049 173 411 5575
mail@husslehof.org
www.husslehof.org

End of Pain?

Workshop: Economies of Time

017.SMBA-JERONIMO-VOSS-2016-PH.GJ

with Paul Mattick (NYC), Eric-John Russel (London), Bart van der Stehn (Leiden), Jessica Sehrt, Martin Stiehl, Jeronimo Voss (Frankfurt am Main), a.m.o.

Date: Saturday, June 11, 4pm.
Location: Exhibition ‘Inverted Night Sky‘, Stedelijk Museum Bureau Amsterdam (SMBA), Rozenstraat 59, 1016 NN Amsterdam
Entrance: Participation is free, but registration is mandatory. Please write to hello@realismworkinggroup.org

The Dutch council communists of the 1930s outlined “the social revolution is nothing more than the introduction of the labour-hour as the unit measure regulating and controlling the whole of economic life” (The Fundamental Principles of Communist Production and Distribution, GIK Holland). Today, a calculation of the distribution of goods based on labour time appears outdated, given the industrial conditions of enormously increased productivity. Yet, under present conditions of chronic overproduction, what we lack the most of is time. How does the “Economy of Time“ determine our present perspective on politics, or even the visual arts of time based media?

Workshop: Economies of Time