Aktuell

Veranstaltungen Lichtenberg Studios

Türrschmidtstr. 24

Sonntag, 23. September um 17 Uhr

Yann Le Crouhennec
Yann Le Crouhennec ist im Rahmen der dieses Jahr beginnenden Kooperation mit Conny Becker in Die (Frankreich) im September in den Lichtenberg Studios.

Vortrag, Diskussion zu seiner Arbeit.

During this stay in Lichtenberg studios, I focus on the scale relations between architecture and human beings by underlining their formal and symbolic meanings and observing human life and behavior in public and private spaces. I used drawings, photographs, installation and street interventions.

Yann Le Crouhennec is a visual artist that uses different media, depending on his preoccupations and the need of the situation. He’s a painter that uses the light as a brush to make photographs. He uses video as a poetic media including sound, music and (his) text in addition to the images he makes or remixes. Time and its effects is a matter he uses much in his works. He has been exhibiting for 30 years in a lot of countries in Europe and abroad.

YLC photographs: The eye explores the abyss that the sight opens. The act of seeing never stops to transform things and beings. Look at this bacchanal of photons and pixels whose waves, its living form, energy and its infinite consequences we feel. The photographs I make are a trace of it. It reflects the perception of a sensible time and being.

September, 2018

LichtenbergInsel

April, 2015

Aktuell

Veranstaltungen Lichtenberg Studios

Türrschmidtstr. 24

Mittwoch, 5. September um 19 Uhr

Ashok Vish
Ashok Vish ist im Rahmen des bangaloREsidency-Expanded Programms des Goethe-Institutes Bangaolore im August in den Lichtenberg Studios.

Vortrag, Diskussion zu seiner Arbeit.

THE FIRST DUTY…IS TO BE INCONSPICUOUS

I perceived parallels between photo and information sharing engaged in by gay men on online dating websites & apps as a means of identifying potential social and sexual contacts, and similar procedures utilized by the East German State Security Service—the Stasi—as a means of controlling, coercing, and oppressing queer individuals. What intrigues me the most is that both of them hinge on the creation of archives of sorts—collections of photographs, written records and even films used as handy references to identify individuals who possess or exhibit specific qualities. More than this, however, was the fact that the power of these two particular types of archives rests not on the active use of their content, but the threat suggested by the possession of these images or information, as a form of personal information.

Given their central role in the preservation of intellectual and cultural histories, we tend to think of archives as valuable resources for decoding and making sense of the past and situating current practices in an historical and cultural continuum. The two types of archives I investigate here, though, are less benign, given the uses to which they can be and have been put.

Creating fictional narratives has formed the bulk of my artistic practice; and with this work, I perform this process on two levels: I formulate a set of fictional characters and, in turn, develop fictional narratives of record-keeping and other related actions to illuminate the disquieting correspondences that link the official archive of the totalitarian state to the private archive of the „sexual outlaw.“ My work, the title of which comes from a previous citizen of East Germany, stating „The first duty of the citizen was to be inconspicuous“ uses individual photos and information files to analyze the need for discretion, for privacy in contemporary India—a situation that clearly mirrors life in the GDR under the Stasi as the East German government’s most visible and effective force of surveillance and repression—and at the same time, to examine the liberating potential of public disclosure as well, freeing the queer subject from the bonds of oppression and intimidation.

September, 2018