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Yours, KOW

Barbara Hammer & Hudinilson Jr

, Barbara Hammer, Hudinilson Jr

Opening  ›  Mar 17, 4:00 PM

Mar 17 – Apr 15, 2023

DeutschEnglish

KOW and Galerie Jaqueline Martins are simultaneously showing in Berlin and São Paulo two pioneers of queer emancipation: Barbara Hammer, born in Hollywood in 1939, and Hudinilson Jr, born in São Paulo in 1957. Although Hammer's films have been acknowledged from the onset, her other artistic works have only received international attention in the 2010s, as has Hudinilson's work. The exhibitions at the two galleries mark the first time both artists can be seen together.

KOW und die Galerie Jaqueline Martins zeigen gleichzeitig in Berlin und São Paulo zwei Pionier*innen der Emanzipation: Barbara Hammer, geboren 1939 in Hollywood, und Hudinilson Jr. geboren 1957 in São Paulo. Während Hammers Filme von Anfang an Beachtung fanden, erhielten ihre anderen künstlerischen Arbeiten erst in den 2010er Jahren internationale Anerkennung, ebenso wie Hudinilsons Werk. Die Ausstellungen in den beiden Galerien sind das erste Mal, dass beide Künstler*innen gemeinsam zu sehen sind.

Hudinilson Jr. grew up in São Paulo, Brazil under a military dictatorship and in a climate of extreme homophobia. He was a member of the group 3NÓS3, with whom he created his earliest actions. Under cover of darkness, he pulled plastic bags over the heads of heroes’ monuments overlooking the urban scene, denouncing the regime’s use of torture while also attacking prominent public symbols of state (Ensacamentos /Baggings, 1979). Barbara Hammer may have faced less manifest danger in comparatively liberal California, but she too, confronted the symbols of (male) power. For example, in Superdyke (1975), a group of lesbian activists storm San Francisco City Hall.

It is striking to note the similarities between the two artists. They both combatively put their own bodies and their homosexuality central in their art. Early photographs and works on paper that flank Hammer’s often very explicit experimental films from the 1970s and 1980s (like the film Sync Touch, 1981) visualize her own erotic pleasure as well as the struggle for public recognition of female sensuality and lesbian identity as expressed in her drawing Dark Vagina or Moon in the Head, (1969/1971).

Besides photography, collage techniques were key to Hudinilson’s work. He was one of the first artists to make extensive use of the Xerox photocopier, literally mounting himself to the machine to make images of his body—not out of an obsession with sex, as some critics may have implied, but in an act of self-scrutiny and a search for visual structures that might convey the sensuality and desire of human skin and flesh. See Narcisse, Exercício de me ver II / Exercise in Seeing Myself II and Untitled, both created in 1982.

In many ways, their work had an impact that went far beyond their creative output. When the AIDS epidemic broke out, both Hammer and Hudinilson took up the fight against the demonization of homosexuals and emerged as important voices of the gay and lesbian emancipation movements in their respective countries. Yet, unlike Hammer, whose art continued to evolve and grow until her death in 2019, Hudinilson gradually withdrew from public engagement; marginalized and boxed in by a conservative and still homophobic society and spurned by the art world and art market, he spent many years as a recluse in his apartment before passing away in 2013.

Hudinilson wuchs während der Militärdiktatur in einem extrem homophoben Klima auf. In ersten Aktionen stülpte er 1979 als Mitglied der Gruppe 3NÓS3 im Schutz der Nacht Plastiktüten über die Köpfe heroischer Figuren, die als Denkmäler den Stadtraum zierten, und wandte sich damit gegen die Foltermethoden des Regimes, zugleich griff er sichtbar öffentliche Symbole der Macht an (Ensacamentos /Eintütungen). Im vergleichsweise liberalen Kalifornien hatte Hammer es zwar leichter, aber auch sie griff nach den Symbolen der (männlichen) Herrschaft, etwa wenn eine Gruppe lesbischer Aktivistinnen in Superdyke (1975) das Rathaus von San Francisco erstürmt.

Frappierend ist, wie ähnlich und offensiv beide Künstler*innen ihren eigenen Körper und ihre Homosexualität ins Zentrum ihres Werkes stellen. In frühen Fotografien und Arbeiten auf Papier, die Hammers oft sehr explizite Experimentalfilme der 70er und 80er Jahre (Sync Touch, 1981) flankieren, sind die eigene Lust, aber auch das Ringen um die öffentliche Anerkennung weiblicher Sinnlichkeit und lesbischer Identität erkennbar (Dark Vagina or Moon in the Head, 1969/1971).

Hudinilson nutzte neben der Fotografie vor allem Collagetechniken und arbeitete als einer der ersten Künstler extensiv mit dem Xerox-Kopierer, den er buchstäblich bestieg, um seinen Körper abzulichten – nicht sexbesessen, wie manche Kritiker attestierten, sondern vielmehr abtastend, überprüfend, auf der Suche nach visuellen Strukturen, die der Realität des sinnlichen Leibes und Begehrens entsprechen können (Narcisse, Exercício de me ver II / Übung darin, mich selbst zu sehen II, 1982, und Untitled, 1982).

Vieles von dem, was ihr Wirken ausmachte, reichte weit über das eigene künstlerische Werk hinaus. Als die AIDS-Epidemie ausbrach, kämpften Hammer wie Hudinilson in ihren jeweiligen Ländern gegen die Dämonisierung Homosexueller und waren Stimmen schwuler und lesbischer Emanzipationsbewegungen. Doch anders als Hammer, deren künstlerische Arbeit sich bis zu ihrem Tod 2019 kontinuierlich fortentwickelte, zog Hudinilson, der 2013 starb, sich viele Jahre lang zunehmend in seine Wohnung zurück, eingeengt von der Marginalisierung in einer konservativen und weiterhin homophoben Gesellschaft, aber auch verschmäht von der Kunstwelt und vom Kunstmarkt.

Text: Alexander Koch
Translation: Gerrit Jackson
Photos: Ladislav Zajac

Text: Alexander Koch
Photos: Ladislav Zajac

from left to right: Barbara Hammer, Hudinilson Jr, exhibition view KOW 2023, photo: Ladislav Zajac
Hudinilson Jr., Untitled, 1982, collages with fotocopy on paper, 75 x 112 cm each, exhibition view KOW 2023, photo: Ladislav Zajac
Barbara Hammer, Have A Crush 2, 1983, photogram, 3 parts, 27.8 x 21.6 cm each, exhibition view KOW 2023, photo: Ladislav Zajac
Barbara Hammer & Hudinilson Jr, exhibition view KOW 2023, photo: Ladislav Zajac
Barbara Hammer & Hudinilson Jr, from left to right: Hudinilson Jr., Barbara Hammer, Hudinilson Jr., exhibition view KOW 2023, photo: Ladislav Zajac
Barbara Hammer & Hudinilson Jr, from left to right: Hudinilson Jr., Barbara Hammer, Hudinilson Jr., Barabara Hammer, Hudinilson Jr., exhibition view KOW 2023, photo: Ladislav Zajac

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Casa Negra

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2016

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2015

Left To Our Own Devices

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A Summer Of Films

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May 2 – Jun 25, 2015

A Lucky Day

, Renzo Martens, CATPC
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Time Capsule. Artistic Report on Catastrophes and Utopia

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Feb 28 – Apr 18, 2015

Have A Crush

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Dream Lovers. The Films 2008–2014

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Dec 6, 2014 – Feb 14, 2015

2014

Dämmstoffe

, Heinrich Dunst
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Pinturas Aeropostales

, Eugenio Dittborn
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Cool Drink on a Hot Day

, Chris Martin
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In The Stomach Of The Predators

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2013

Körperformen

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40 cbm Of Earth From The Iberian Peninsula

, Santiago Sierra
Sep 14 – Oct 30, 2013

Michael E. Smith II

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Apr 27 – Jul 13, 2013

Dignity

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Feb 16 – Apr 14, 2013

Believers

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2012

Im Archipel

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Das Etablissement der Tatsachen The Establishment of Matters of Fact

, Alice Creischer
Apr 27 – Jul 22, 2012

Manitoba

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Feb 3 – Apr 15, 2012

Tina Schulz


Nov 5, 2011 – Jan 28, 2012

2011

A Formal Film In Nine Episodes, Prologue & Epilogue

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Social Violence

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2010

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Sep 11 – Oct 24, 2010

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Vele, Zgora

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2009

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Antirepresentationalism 1: Politics of Redescription. Conceptual and Socially oriented Art in Leipzig 1997–2009

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KOW ISSUE 3: Detroits' Post-Fordism

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KOW ISSUE 1: Participatory Minimalism

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