Phase 1: Enabling Space Phase 2: Trans-Actions Phase 3: Besides Reproduction

Daniel Buren, Diego Castro, Maria Eichhorn, Katja Staats
Stephan Dillemuth, Loretta Fahrenholz, Phillip Zach
Kunstraum of Leuphana University of Lüneburg

Entitled »Demanding Supplies — Nachfragende Angebote,« three successive exhibiton projects in cooperation with Kunstraum of Leuphana University of Lüneburg are devoted in 2011 to art and its markets.

The third exhibition »Besides Reproduction« will present four artistic positions that shift attention to the art market under varying premises: Maria Eichhorn and Daniel Buren are joined by Diego Castro and Katja Staats, the two 2011 winners of the Daniel Frese Prize for Contemporary Art, which was awarded for the first time this year.

Maria Eichhorn has been examining the artistic field since the 1990s. A famous example of her work is »Maria Eichhorn Aktiengesellschaft« (Public Limited Company) (2002) for documenta 11. Consisting of a stock company using its allotted production funds, the work leads its system ad absurdum by freezing its own assets. For the show at the Kunstraum of Leuphana University of Lüneburg, the artist revisits an exhibition series she presented four times at her gallery Barbara Weiss, Berlin, between 1995 and 2001. The exhibitions staged a kind of »remnant sale« that operated according to the principle of successive reduction. Every object sold was missing from the inventory of the following show. For each of the exhibitions, an updated invitation card listing all of the works in alphabetical order gives insight into the dynamics of supply and demand. Ten years after, Eichhorn updates this invitation card once again. It is presented next to the four previous cards in a new display conceived by the artist. In this way, Eichhorn develops a partial continuation – a simultaneous reproduction and retrospection.

With his 2005 work »Immaterialistische Internationale« (Immaterialist International), Diego Castro has created a progressively expanding movement of performances, videos, installations, pamphlets and hundreds of drawings, all of which have come to form a complex of works that critically targets the standard forms of distribution and representation systems in art. Castro's design, which emerged from this body of work, was awarded the 2011 Daniel Frese Prize for Contemporary Art by a jury chaired by Beatrice von Bismarck (rector of the Academy of Visual Arts, Leipzig) and acknowledged by laudator Robert Fleck (director of the Art and Exhibition Hall of the Federal Republic of Germany, Bonn). »Immaterialist International« discusses the ritualistic value of art and advocates ways of bypassing the various filters of the field. Castro employs the means of reproduction by updating them while holding back the original as discussed by Walter Benjamin. For the exhibition, Castro develops an overview of his project which opens up references to the »Situationist International,« its impulses critical of capitalism, and its political demands in the 1960s. A copy machine allows the viewers to access posters, audio recordings and drawings on subjects such as »art and art trade« or »working conditions for cultural workers.«

The intransparency of the art market and the social mechanisms of the art world are also a central field of interest for artist Katja Staats, winner of the 2011 Daniel Frese Prize for Contemporary Art in the young emerging artist category. For the exhibition, she visited artists in her geographical context to represent several of their works in different sites. Each of the black-and-white images depicts Katja Staats as a rear figure, gazing at the artwork seen in the photograph. Allusions in this composition include the »picture in the picture« as well as the artist´s self-depiction. The reproduction of persons in the picture allows to incorporate the players of the art market network. What is multiplied are the perspectives of a system whose protagonists are following specific conventions and pursuing interests often veiled. In this way, Staats questions not only her own position; by recontextualizing those artworks, she forces a shift in the attention economy through a symbolic inversion of center and periphery.

Daniel Buren looks at the partial homology of artworks and other passion objects. In 2008, the first-generation Conceptual artist and early proponent of institutional critique triggered a daring liaison between the art and fashion markets. Buren designed 365 silk scarves for the luxury brand »Hermès,« the same kind that serves as the company´s hallmark. The motifs Buren employs are drawn from a selection from his bundle of thousands of »photo-souvenirs.« Buren has been taking these photographs of his own ephemeral and site-specific art projects since the 1950s, though until that point they had only been seen in books. Besides the »photo-souvenirs« the scarves were also printed with another »brand« by Buren himself: the always 8.7 cm-wide stripes that he had originally taken from a customary awning fabric and has been using ever since. As part of the »photo-souvenirs« on the silks, the stripe pattern now occupies a new territory in the inherent logic of the work. As surfaces of various spatial and social situations, Buren generates his critical intersections of art, design, craft, and fashion. In an arrangement developed for the Kunstraum, the artist seizes on this threefold reproduction: the ephemeral art project through the »photo-souvenir,« the »photo-souvenir« in the silk cloth and the awning fabric pattern as well as the artistic identification symbols as a framework for both that is nonetheless set to work – questioning the margin between artwork and luxury good. This also leaves room for Buren´s own inquiry into the sphere of the logic of distinction and the constantly re-evaluated edge of criticism – that, however, continually defines the difference between works of art and luxury objects.

The show unfolds in the exhibition architecture previously realized in phase 1 »Enabling Space«, by nOffice which raises the question how the conditions of art´s presentation predetermine its ambivalent relationship to its markets.

Keeping elements from the second exhibition project »Trans-Actions,« the presented works merge into the final phase of the series »Demanding Supplies — Nachfragende Angebote.« The integrated text installation by Phillip Zach quotes fragments of the discursive bequest of the New York gallery American Fine Arts, Co. Stephan Dillemuth´s video, showing a talk of the artist with its protagonist Colin de Land and artist Joseph Strau, moves into the backstage opened for visitors, the office of the Kunstraum. Loretta Fahrenholz is represented by a poster of her film »HAUST« which she had shown parallel to an insight into Colin de Land's video and super-8 films and which negotiates challenges during phases of passage in artistic trajectories.

— Valérie Knoll, Julia Moritz

Admission to the opening and exhibition is free of charge.
Guided tours with Valérie Knoll and Cornelia Kastelan Sat, 26 November, 03 and 17 December 2011, 3pm

Curators involved in the exhibition series »Demanding Supplies — Nachfragende Angebote« are Julia Moritz, Valérie Knoll, Hannes Loichinger, Magnus Schaefer and Cornelia Kastelan.

05 November – 22 December 2011

Friday, 04 November 2011, 7 pm
Kunstraum of Leuphana University of Lüneburg, Campus Hall 25
Scharnhorststrasse 1, D-21335 Lüneburg

Opening hours: Tues – Thurs, Sat, 2 – 6 pm
Upcoming dates with involvement of Projects with the Creativity Economy (KIM, MANEC)

Workshop with Maria Eichhorn (Berlin)
Sat 5/11/2011, 11 am – 2 pm, Kunstraum of Leuphana University of Lüneburg,
Campus Building 5, Room 326

Panel discussion »Social Media – Social Revolts?«
with Graham Harwood (Goldsmiths, University of London), Anne Roth (blogger and journalist, Berlin), Aalam Wassef (media artist and activist, Cairo)
Tues 15/11/2011, 7 – 9 pm, Kunstraum of Leuphana University of Lüneburg, Campus Building 5, Room 326

Symposium »Degrees of Freedom. Art Programs at Universities«
Participants include Jens Hauser (Ruhr Universitaet Bochum), Irène Hediger (Swiss Artists-in-Labs), Sally Jane Norman (Attenborough Centre for the Creative Arts, University of Sussex), Sarat Maharaj (Lund University, tbc), Patricia Falguière (EHESS Paris, tbc), a.o.
Wed 16/11/, 6 pm – Fri 18/11/2011, 1 pm, Leuphana University of Lüneburg, Campus
Reservation required: Marc S. Riedel

Workshop »Passion Investments in Art Markets«
Lectures by
Olav Velthuis (University of Amsterdam):
»A Market in Stasis. Why Contemporary Art is Always Sold in the Same Way«
Larissa Buchholz (Columbia University New York):
»The Relationship of Symbolic and Economic Value in the Global Art Field. Challenging the
Convergence Thesis«

Massimiliano Nuccio (Leuphana University of Lüneburg, Bocconi University Milan):
»The Art Market between (Creative) Economy and Economics«
Christoph Behnke, Steffen Rudolph, Ulf Wuggenig (Leuphana University of Lüneburg):
»Art Market Research – Some Non-Obvious Results«
Fri 25/11/2011, 2 – 8 pm, Kunstraum of Leuphana University of Lüneburg, Campus Building 5,
Room 326

Studio visit with winners of the Daniel Frese Prize for Contemporary Art
Excursion to the open studio of Katja Staats in Buchholz/ Nordheide including a guided tour through the current exhibition at the Kunstverein Buchholz/ Nordheide with artist Michael Doerner, as well as to Diego Castro’s studio in Harsefeld
Sat 10/12/2011, 10 am – 5 pm, meeting point to be announced

Presentation »New Patrons in Hamburg« with Harun Farocki (Berlin), Nina Moentmann (Royal Institute of Art Stockholm), Vera Tollmann (New Patrons Berlin)
Fri 16/12/2011, 6 pm, Kunstraum of Leuphana University of Lüneburg, Campus Building 5,
Room 326

The Innovation Incubator Lüneburg is an EU major project, financed by the European Regional Development Fund and co-funded by the federal state of Lower Saxony.