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Yours, KOW

Das Etablissement der Tatsachen The Establishment of Matters of Fact

, Alice Creischer

Apr 27 – Jul 22, 2012

DeutschEnglish

"The Establishment of Matters of Fact" was the guiding principle of the early empirical sciences. They brought a new power into the world: the power of fact. Truth was to become manifest in the scientific experiment as though of its own accord: unaffected by regimes of belief, unconstrained by the interests of the ruling powers. In short, pure fact.

„The Establishment of Matters of Fact“, das war das Motto der frühen empirischen Wissenschaften. Sie brachten eine neue Macht in die Welt: die Macht der Tatsachen. Experimentelle Forschung sollte Wahrheiten wie von alleine liefern, unbeeinträchtigt von Glaubensregimen, frei von Herrschaftsinteressen. Reine Tatsachen eben.

For her exhibition, the Berlin-based artist, writer, and curator Alice Creischer, who was born in 1960, has mistranslated this central motto of the seventeenth century: "Das Etablissement der Tatsachen." If this title sounds vaguely disreputable, that is very much intended: Creischer’s multipart installation for KOW illustrates that the normative power of the factual constitutes a regime in its own right, one that is permeated by domination and politically obscene.

At the center of the exhibition stands the matter-of-factly reconstruction of a vacuum pump the scientist Robert Boyle, a founding member of the Royal Society, used in the 1660s to prove the existence of a vacuum, or the absence of air from a space. His claim led to a dispute with the political theorist Thomas Hobbes: Boyle intended to arrive at true propositions with the assistance of technical implements and "modest witnesses" (neutral observers); Hobbes, by contrast, insisted that even scientific insight had to submit to the power of the absolute ruler, the "Leviathan", and rejected Boyle’s experiments. If the existence of a vacuum could be proven by experimental means alone, without regard for the laws of pure reason and political philosophy, this space would be exempt from government control and, Boyle feared, might provoke a political vacuum as well, i.e., anarchy and civil war.

Dieses zentrale Motto des 17. Jahrhunderts hat die Berliner Künstlerin, Autorin und Kuratorin Alice Creischer, Jahrgang 1960, in ihrem Ausstellungstitel falsch übersetzt in: „Das Etablissement der Tatsachen“. Das klingt anrüchig. Mit Grund, denn Creischers vielteilige Installation für KOW zeigt die normative Macht des Faktischen selbst als ein Regime, von Herrschaft durchzogen und politisch obszön.

Im Zentrum der Ausstellung steht der lapidare Nachbau einer Vakuumpumpe, mit der Robert Boyle, Wissenschaftler und Mitbegründer der Royal Society, in den 1660er Jahren die Existenz des luftleeren Raumes bewies. Darüber geriet er jedoch in Streit mit dem Staatstheoretiker Thomas Hobbes. Denn während Boyle wahre Aussagen mithilfe technischer Apparaturen und „neutraler Beobachter“ („Modest Witness“) treffen wollte, bestand Hobbes darauf, dass sich auch wissenschaftliche Erkenntnis der Herrschaft des Absolutismus unterwerfen müsse, dem Leviathan, und lehnte Boyles Versuche ab. Ließe sich ein luftleerer Raum allein experimentell nachweisen, ohne Rücksicht auf die Gesetze der reinen Vernunft und staatstragender Philosophie, wäre er jeder Regierungskontrolle entzogen und provoziere, so Hobbes Befürchtung, potenziell auch ein politisches Vakuum – Anarchie und Bürgerkrieg.

Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (mixed media), installation view
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Detail, Curtain, Xerox copies, ink and pen on satin
DeutschEnglish

Here, too, to understand is to appropriate. Knowledge is not something we just find.

Verstehen heißt aneignen, auch hier. Wissen wird nicht einfach gefunden.

Boyle prevailed. He expended immense efforts to make his vacuum pump leak-proof enough that it could be used to suffocate lab mice. Far from creating anarchy, he invented the death in the laboratory as a demonstration of physical fact that could be reproduced before witnesses. The family trees, scientific classifications, and genetic codes of countless generations of lab mice serve Creischer to hang parts of her installation, which idiosyncratically short-circuits Boyle’s experimental arrangement with present-day political events and denounces the illusion of a knowledge isolated from power. Creischer guides the visitors through a dense sequence of images, collages, objects, and encoded poems; the exhibition also features a dramatic script in four acts that comes with a critical apparatus—an appendix that is as detailed as it is hard to read.

Encryption and the deliberate withholding of information are the defining characteristics of the exhibition’s semantics. Here, too, to understand is to appropriate. Knowledge is not something we just find. What can be known and what cannot is subject to conditions—for the one who speaks and the one who listens. No fact is innocent; neither is the knowledge of it, nor its critique. Creischer observes as the critical zeitgeist establishes new Leviathans, and she refuses to comply. Her exhibition remains deliberately fragile, both in its means and in its assertions. She addresses political matters of the present against a backdrop of profound familiarity with the early history of capitalism and its ties to the rational universalism of the Enlightenment as well as the shared presumptions both have been guilty of ever since—but everyone furnishes his or her own "Establishment of Matters of Fact", as well as its deconstruction.

As a theorist and art critic, Alice Creischer has staked out an influential position in the theoretical and political discourse of the German arts scene since the 1990s. Her art, however, has been fairly rarely on display in Berlin. She has long been a regular writer for Texte zur Kunst and springerin. As a curator, she has worked on important exhibitions around the critique of neoliberalism and colonialism: "Violence Is at the Margin of All Things" (2002), "ExArgentina" (2004), and "The Potosí Principle" (2010–2011). Solo shows at art institutions have featured Creischer’s work in conceptual art, painting, and sculpture. In 2007, she participated in documenta 12. We now present Alice Creischer’s first solo exhibition at a gallery.

Text and photos: Alexander Koch / Translation: Gerrit Jackson

Boyle setzte sich durch. Er betrieb immensen Aufwand, um seine Vakuumpumpe so dicht zu bekommen, dass sich Versuchsmäuse in ihr ersticken ließen. Statt Anarchie zu stiften erfand er den Tod im Labor als physikalischen Tatsachenbeweis, vor Zeugen reproduzierbar. An den Stammbäumen, wissenschaftlichen Klassifizierungen und genetischen Codes von zig Labormausgenerationen hängt Creischer Teile ihrer Installation auf, die Boyles Versuchsanordnung idiosynkratisch mit politischen Geschehnissen der Gegenwart kurzschließt und dabei die Illusion herrschaftsfreier Erkenntnis denunziert. Creischer lenkt die Besucher durch einen dichten Parcours von Bildern, Collagen, Objekten und chiffrierten Gedichten, zudem liegt der Ausstellung ein Theaterskript bei, geschrieben in vier Akten und versehen mit einem ausführlichen, jedoch schwer entzifferbaren Quellenapparat.

Chiffrierung und bewusster Entzug von Information prägen die Semantik der Ausstellung. Verstehen heißt aneignen, auch hier. Wissen wird nicht einfach gefunden. Was sich wissen lässt und was nicht, dafür gibt es Bedingungen. Für den, der spricht, und für den, der zuhört. Keine Tatsache ist unschuldig, auch nicht deren Kenntnis und auch nicht deren Kritik. Creischer sieht, wie der kritizistische Zeitgeist neue Leviathane etabliert und folgt ihnen nicht. Bewusst bleibt ihre Ausstellung sowohl in ihren Mitteln wie auch in ihren Behauptungen fragil. Zwar verhandelt sie politische Verhältnisse der Gegenwart vor dem Hintergrund profunder Kenntnis der Frühgeschichte des Kapitalismus und seiner Verschränkung mit dem rationalen Universalismus der Aufklärung und der gemeinsamen Anmaßungen beider seitdem – das „Etablissement der Tatsachen“ richtet sich aber jeder selber ein. Dessen Dekonstruktion auch.

Als Theoretikerin und Kunstkritikerin gilt Alice Creischer seit den Neunzigerjahren als eine einflussreiche Position im theoretischen und politischen Diskurs der deutschen Kunstszene. Als Künstlerin war sie in Berlin jedoch eher selten zu sehen. Sie zählt zum festen Autorinnenstamm von Texte zur Kunst und springerin. Als Kuratorin wirkte sie an bedeutenden Ausstellungen zur Kritik von Neoliberalismus und Kolonialismus mit: „Die Gewalt ist der Rand aller Dinge“ (2002), „ExArgentina“ (2004), „Das Potosí-Prinzip“ (2010/2011). Institutionelle Einzelausstellungen zeigten Creischer als Konzeptkünstlerin, Malerin und Bildhauerin. 2007 war sie auf der documenta 12. Wir zeigen Alice Creischers erste Galerie-Einzelausstellung.

Text und Fotos: Alexander Koch

Alice Creischer, Das Etablissement der Tatsachen, 2012, Paper, silver paint, collage, 120,5 x 282 cm
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (mixed media), installation view
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (mixed media), installation view
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (mixed media), installation view
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (mixed media), installation view
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Ink, curtain, adhesive letters and mixed media on satin
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Ink, curtain, adhesive letters and mixed media on satin, detail
Alice Creischer, Vorlesung von Michel Foucault vom 21. Januar 1976 im Collège de France, 2012, Installation (ink, silver thread, satin, wood, textile, xerox copies)
Alice Creischer, Vorlesung von Michel Foucault vom 21. Januar 1976 im Collège de France, 2012, Installation (ink, silver thread, satin, wood, textile, xerox copies)
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (poster, drinking straws, mixed media)
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (poster, drinking straws, mixed media)
Alice Creischer, If Stones and Metals Had a Desire, 2012, Installation (aluminium plate, drinking straws, photographies and collages)
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (mixed media), installation view
Alice Creischer, If Stones and Metals Had a Desire, 2012, Altered photography on aluminium plate, 59,4 x 84,1 cm
Alice Creischer, Die Wolken, 2012, Altered photography, 42 x 59,4 cm
Alice Creischer, If Stones and Metals Had a Desire, 2012, Installation (aluminium plate, drinking straws, photographies and collages), Collages 29,7 x 42 cm each
Alice Creischer, If Stones and Metals Had a Desire, 2012, Installation (aluminium plate, drinking straws, photographies and collages), Collages 29,7 x 42 cm each
Alice Creischer, Vorlesung von Michel Foucault vom 21. Januar 1976 im Collège de France, 2012, Installation (ink, silver thread, satin, wood, textile, xerox copies), detail
Alice Creischer, Vorlesung von Michel Foucault vom 21. Januar 1976 im Collège de France, 2012, Installation (ink, silver thread, satin, wood, textile, xerox copies), detail
Alice Creischer, Collages and coloured photographies, 2012
Alice Creischer, Work Station with Theater play, 2012, Mixed media, installation view
Alice Creischer, Das Etablissement der Tatsachen, 2012, Paper, silver paint, collage, 120,5 x 282 cm
Alice Creischer, Work Station with Theater play, 2012, Mixed media, detail
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (mixed media), detail
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (mixed media), installation view
Alice Creischer, Encoded poems, 2012, Xerox copies on colour paper, 14 parts
Alice Creischer, Encoded poems, 2012, Xerox copies on colour paper, 14 parts
Alice Creischer, Encoded poems, 2012, Xerox copies on colour paper, 14 parts
Alice Creischer, Encoded poems, 2012, Xerox copies on colour paper, 14 parts
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (mixed media), detail
Alice Creischer, Portfolio, 2012, Presentation folder with collages, installation view
Alice Creischer, Portfolio, 2012, Presentation folder with collages, installation view

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Current

Upcoming

2024

Vul|ne|ra|ble

, Anna Boghiguian, Candice Breitz, CATPC, Alice Creischer, Chto Delat, Clegg & Guttmann, Heinrich Dunst, Anna Ehrenstein, Estate of León Ferrari, Peter Friedl, Sophie Gogl, Estate of Barbara Hammer, The Cabinet of Ramon Haze, Hiwa K, Simon Lehner, Mario Pfeifer, Dierk Schmidt, Michael E. Smith, Franz Erhard Walther, Clemens von Wedemeyer, Tobias Zielony, Anna Ehrenstein & Rebecca Pokua Korang, Sophia Eisenhut & Max Eulitz, Hudinilson Jr., Pınar Öğrenci, Helena Uambembe
Sep 7 – Nov 16, 2024

Tools for Conviviality (Am Schwarzenbergplatz, Vienna)

, Clegg & Guttmann, Anna Ehrenstein, Oswald Oberhuber, cameron clayborn, Heinz Frank, Blerta Hashani, Veronika Pausova, Dardan Zhegrova
Jun 21 – Jul 7, 2024

Social Geometry

, Clemens von Wedemeyer
Apr 26 – Jun 29, 2024

I'll Remember April

, Anna Boghiguian, Alice Creischer, Eugenio Dittborn, Sophie Gogl, Estate of Barbara Hammer, Sandra Brandeis Crawford, Goshka Macuga, Monsieur Zohore
Apr 26 – Jun 29, 2024

No more, not yet (Am Schwarzenbergplatz, Vienna)

, Alice Creischer, Heinrich Dunst, Franz Erhard Walther, Frank Heath, Nova Jiang, Thomas Lerooy, Hanne Lippard, Emile Rubino, Nora Turato
May 15 – Jun 15, 2024

exercises in popular gymnastics

, Santiago Sierra
Mar 9 – Apr 13, 2024

CTRL V (Am Schwarzenbergplatz, Vienna)

, CATPC, Sophie Gogl, Simon Lehner, Julien Bismuth, Tatjana Danneberg, Sam Ekwurtzel, Katja Mater, Florian Meisenberg
Apr 3 – May 11, 2024

Fremdkörper (Am Schwarzenbergplatz, Vienna)

, Candice Breitz, Marco A. Castillo, Dierk Schmidt, Sharona Franklin, Baseera Khan, Brilant Milazimi, Hana Miletic, Mie Yim
Feb 17 – Mar 23, 2024

My Mountain Has No Summit

, Simon Lehner
Nov 18, 2023 – Feb 25, 2024

2023

Teatro Popular

, Peter Friedl
Sep 15 – Nov 4, 2023

Like a Good, Good, Good Boy

, Hiwa K
Apr 28 – Jul 22, 2023

Casa Negra

, Marco A. Castillo
Mar 17 – Apr 15, 2023

Barbara Hammer & Hudinilson Jr

, Estate of Barbara Hammer, Hudinilson Jr
Mar 17 – Apr 15, 2023

Watching TV in Narva

, Tobias Zielony
Jan 28 – Mar 4, 2023

Das Auto Rosi aber

, Anna Boghiguian, Candice Breitz, Marco A. Castillo, Alice Creischer, Chto Delat, Heinrich Dunst, Anna Ehrenstein, Peter Friedl, Sophie Gogl, Clegg & Guttmann, Estate of Barbara Hammer, Hiwa K, Simon Lehner, Renzo Martens, Oswald Oberhuber, Mario Pfeifer, Santiago Sierra, Michael E. Smith, Franz Erhard Walther
Nov 26, 2022 – Jan 14, 2023

2022

Proof of the Unthinkable

, Mario Pfeifer
Sep 16 – Nov 12, 2022

JOINT VENTURES: Carlos∕Ishikawa, London

Richard Sides – Basic Vision
Sep 16 – Nov 12, 2022

KOW at Sperling, Munich: Various Others 2022

, Anna Ehrenstein, Andrew Gilbert
Sep 10 – Oct 15, 2022

Latest News

Istvan Kantor
Jul 15 – Aug 20, 2022

Canary Archive

, Chto Delat
Jul 15 – Aug 20, 2022

KOW at LA MAISON DE RENDEZ–VOUS, Brussels: Kleine Beestjes

, Sophie Gogl
Jul 6 – Aug 31, 2022

Anna Boghiguian

, Anna Boghiguian
Apr 29 – Jun 25, 2022

Anna Boghiguian / Alice Creischer

, Anna Boghiguian, Alice Creischer
Apr 29 – Jun 25, 2022

BALOT

, CATPC, Renzo Martens
Feb 11 – Apr 8, 2022

The Albanian Conference: Home Is Where The Hatred Is

, Anna Ehrenstein, feat. DNA, Fadescha, Rebecca-Pokua Korang
Nov 12, 2021 – Jan 29, 2022

Idea / Ideal

, Marco A. Castillo
Nov 12, 2021 – Jan 29, 2022

2021

Michael E. Smith

, Michael E. Smith
Sep 10 – Oct 31, 2021

The Bell Project

, Hiwa K
Jun 18 – Jul 24, 2021

Joint Ventures: Felix Gaudlitz, Vienna

Milena Büsch, Simon Lässig, Vera Lutz
Jun 18 – Jul 24, 2021

Jars

, Sophie Gogl
May 1 – Jul 24, 2021

What must not be, cannot be

, Mario Pfeifer
May 1 – Jun 12, 2021

Joint Ventures: Galerie nächst St. Stephan Rosemarie Schwarzwälder, Wien

Sonia Leimer – Junks of Joy
May 1 – Jun 12, 2021

Downstairs: Forced Love

, CATPC
Mar 26 – Apr 18, 2021

Permanente Veränderung

, Oswald Oberhuber
Mar 8 – Apr 18, 2021

JOINT ventures: Modern Art, London

Collier Schorr - Day for Night (1992/2021)
Mar 8 – Apr 18, 2021

Online exhibition: works on paper

, Oswald Oberhuber
Feb 1 – Mar 26, 2021

KOLONNEN - hohenzollern ist jetzt ein Verb

, Dierk Schmidt
Nov 20, 2020 – Jan 30, 2021

Downstairs: Airmail Paintings 186 and 192

, Eugenio Dittborn
Nov 20, 2020 – Jan 30, 2021

Online exhibition: The films

, Eugenio Dittborn
Dec 4, 2020 – Jan 31, 2021

2020

Online exhibition: One night in a social network

, Chto Delat
Oct 4 – Dec 4, 2020

Would You Like to Meet Your Neighbor?

, Estate of Barbara Hammer
Sep 11 – Nov 7, 2020

Downstairs: Two recent films

, Tobias Zielony
Sep 11 – Nov 7, 2020

OUT OF THE DARK II

, Candice Breitz, Chto Delat, Clegg & Guttmann, Alice Creischer, Heinrich Dunst, Estate of Barbara Hammer, The Cabinet of Ramon Haze, Hiwa K, Frédéric Moser & Philippe Schwinger, Oswald Oberhuber, Mario Pfeifer, Dierk Schmidt, Santiago Sierra, Michael E. Smith, Franz Erhard Walther, Clemens von Wedemeyer, Tobias Zielony, CATPC, Anna Ehrenstein, Christoph Schäfer
May 23 – Aug 15, 2020

Online exhibition: The Illusion of a Crowd

, Clemens von Wedemeyer
Apr 7 – May 31, 2020

Labour

, Candice Breitz
Feb 29 – Apr 30, 2020

Machines to change the world

Elena Asins
Feb 15 – Mar 14, 2020

Downstairs: Maschinen zur Veränderung der Welt

, The Cabinet of Ramon Haze
Feb 15 – Mar 14, 2020

TOASTED ANGELS, SOUNDS OF STEEL

, Estate of León Ferrari
Nov 23, 2019 – Feb 1, 2020

Michael E. Smith

, Michael E. Smith
Sep 13, 2019 – Jan 25, 2020

2019

Stadtschlawinereien

, Alice Creischer, Dierk Schmidt, Michael E. Smith, Brandlhuber+, Larissa Fassler, Adelita Husni-Bey, Peng!, Andrea Pichl, Andreas Siekmann, Bárbara Wagner & Benjamin de Burca, Weekend & Plaste, et al.
Sep 7 – Nov 9, 2019

Oberhuber. Un futuro.

, Oswald Oberhuber
May 31 – Jul 27, 2019

Clegg & Guttmann and Franz Erhard Walther

, Clegg & Guttmann, Franz Erhard Walther
Apr 26 – Jul 27, 2019

Make up

, Tobias Zielony
Mar 2 – May 18, 2019

Ostalgie

Henrike Naumann
Feb 2 – Apr 28, 2019

His Master's Voice

, Alice Creischer
Nov 24, 2018 – Jan 19, 2019

Crusoe

, Eugenio Dittborn
Nov 24, 2018 – Jan 19, 2019

Contribution to Light. The Early Works of Barbara Hammer

, Estate of Barbara Hammer
Sep 13, 2018 – Jan 31, 2019

2018

Was euch am Leben hält, ist, was bei uns zu Asche zerfällt *

, Alice Creischer, Mario Pfeifer, Michael E. Smith, Tobias Zielony, Henrike Naumann
Sep 8 – Nov 10, 2018

EL OTRO, EL MISMO / THE OTHER, THE SAME

Los Carpinteros
Apr 28 – Jul 21, 2018

Maskirovka

, Tobias Zielony
Mar 24 – Apr 15, 2018

Double Bodies

, Frédéric Moser & Philippe Schwinger
Feb 10 – Mar 17, 2018

Hotel Résistance

Ahmet Öğüt
Nov 25, 2017 – Jan 28, 2018

2017

Michael E. Smith

, Michael E. Smith
Sep 16 – Nov 5, 2017

Love Story

, Candice Breitz
Apr 29 – Jul 30, 2017

On the Possibility of Light

, Chto Delat
Feb 18 – Apr 9, 2017

On Fear and Education, Disenchantment and Justice, Protest and Disunion in Saxony / Germany

, Mario Pfeifer
Dec 1, 2016 – Apr 15, 2017

The Cabinet of Ramon Haze

, The Cabinet of Ramon Haze
Nov 19, 2016 – Jan 29, 2017

Things, Not Words

, Heinrich Dunst
Nov 19, 2016 – Jan 29, 2017

2016

Barbara Hammer & Oswald Oberhuber

, Estate of Barbara Hammer, Oswald Oberhuber
Sep 17 – Nov 6, 2016

Out Of The Dark

, Chto Delat, Alice Creischer, Eugenio Dittborn, Heinrich Dunst, Estate of Barbara Hammer, Hiwa K, Renzo Martens, Chris Martin, Frédéric Moser & Philippe Schwinger, Mario Pfeifer, Dierk Schmidt, Michael E. Smith, Franz Erhard Walther, Clemens von Wedemeyer, Tobias Zielony, The Cabinet of Ramon Haze
Jun 26 – Jul 31, 2016

The Citizen

, Tobias Zielony
Apr 30 – Jun 12, 2016

This Lemon Tastes of Apple

, Hiwa K
Apr 30 – Jun 12, 2016

Broken Windows 6.3

, Dierk Schmidt
Mar 12 – Apr 16, 2016

Cast Behind You The Bones Of Your Mother

, Clemens von Wedemeyer
Dec 19, 2015 – Feb 27, 2016

2015

Left To Our Own Devices

Hito Steyerl
Sep 17 – Dec 5, 2015

A Summer Of Films

, Chto Delat, Alice Creischer, Eugenio Dittborn, Heinrich Dunst, Estate of Barbara Hammer, Renzo Martens, Frédéric Moser & Philippe Schwinger, Mario Pfeifer, Michael E. Smith, Franz Erhard Walther, Clemens von Wedemeyer, Tobias Zielony, Screening program
Jun 28 – Jul 26, 2015

Approximation In The Digital Age To A Humanity Condemned To Disappear

, Mario Pfeifer
May 2 – Jun 25, 2015

A Lucky Day

, Renzo Martens, CATPC
May 2 – Jul 26, 2015

Time Capsule. Artistic Report on Catastrophes and Utopia

, Chto Delat
Feb 28 – Apr 18, 2015

Have A Crush

, Estate of Barbara Hammer
Jan 10 – Feb 14, 2015

Dream Lovers. The Films 2008–2014

, Tobias Zielony
Dec 6, 2014 – Feb 14, 2015

2014

Dämmstoffe

, Heinrich Dunst
Nov 1 – Dec 18, 2014

Pinturas Aeropostales

, Eugenio Dittborn
Sep 13 – Nov 23, 2014

Cool Drink on a Hot Day

, Chris Martin
May 3 – Jul 27, 2014

In The Stomach Of The Predators

, Alice Creischer
Mar 1 – Apr 19, 2014

2013

Körperformen

, Franz Erhard Walther
Nov 30 – Feb 13, 2013

40 cbm Of Earth From The Iberian Peninsula

, Santiago Sierra
Sep 14 – Oct 30, 2013

Michael E. Smith II

, Michael E. Smith
Apr 27 – Jul 13, 2013

Dignity

, Estate of Barbara Hammer
Feb 16 – Apr 14, 2013

Believers

, Alice Creischer, Chto Delat, Estate of Barbara Hammer, Frédéric Moser & Philippe Schwinger, Michael E. Smith, Franz Erhard Walther, Tobias Zielony, Zanny Begg, Joseph Beuys, Arno Brandlhuber, Ines Doujak, Philippe Halsman, Adrian Piper, Pussy Riot, Christoph Schlingensief, Andreas Siekmann, Santiago Sierra, Andreas Slominski, Sean Snyder
Nov 10, 2012 – Feb 3, 2013

2012

Im Archipel

Arno Brandlhuber
Sep 8 – Oct 21, 2012

Das Etablissement der Tatsachen The Establishment of Matters of Fact

, Alice Creischer
Apr 27 – Jul 22, 2012

Manitoba

, Tobias Zielony
Feb 3 – Apr 15, 2012

Tina Schulz


Nov 5, 2011 – Jan 28, 2012

2011

A Formal Film In Nine Episodes, Prologue & Epilogue

, Mario Pfeifer
Sep 10 – Oct 28, 2011

Social Violence

, Santiago Sierra, Cady Noland
Apr 30 – Jul 29, 2011

Barbara Hammer

, Estate of Barbara Hammer
Feb 12 – Mar 17, 2011

Franz Erhard Walther

, Franz Erhard Walther
Nov 6, 2010 – Feb 11, 2011

2010

Chris Martin

, Chris Martin
Sep 11 – Oct 24, 2010

Michael E. Smith

, Michael E. Smith
Jun 12 – Jul 25, 2010

Vele, Zgora

, Tobias Zielony
May 1 – Jun 5, 2010

The Fourth Wall

, Clemens von Wedemeyer
Jan 23 – Apr 22, 2010

Antirepresentationalism 3: Issues of Empathy Conceptual and Socially oriented Art in Leipzig 1997–2009

, The Cabinet of Ramon Haze, Mario Pfeifer, Clemens von Wedemeyer, Tobias Zielony, Peggy Buth, Jan Caspers/ Anne König/ Jan Wenzel, Chat, Markus Dressen, Famed, Till Gathmann, Lina Grumm, Andreas Grahl, Henriette Grahnert, Mark Hamilton, Bertram Haude, Ramon Haze, Oliver Kossack, Andrea Legiehn, Thomas Lüer, Claudia Annette Maier, Ulrich Polster, Julius Popp, schau-vogel-schau, Julia Schmidt, Tilo Schulz, spector cut+paste, Christoph Weber, Arthur Zalewski
Nov 28, 2009 – Jan 15, 2010

2009

Antirepresentationalism 2: Trouble with Realism. Conceptual and Socially oriented Art in Leipzig 1997–2009

, The Cabinet of Ramon Haze, Mario Pfeifer, Clemens von Wedemeyer, Tobias Zielony, Peggy Buth, Famed, Markus Dressen, Andreas Grahl, Henriette Grahnert, Eiko Grimmberg/ Arthur Zalewski, Mark Hamilton, Ramon Haze, Oliver Kossack, Claudia Annette Maier, Ulrich Polster, Julius Popp, schau-vogel-schau (Marcel Bühler, Alexander Koch), Julia Schmidt, Tilo Schulz, spector cut+paste, Christoph Weber
Oct 17 – Nov 21, 2009

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

, The Cabinet of Ramon Haze, Mario Pfeifer, Clemens von Wedemeyer, Tobias Zielony, Peggy Buth, Jan Caspers/ Anne König/ Jan Wenzel, Chat, Markus Dressen, Famed, Till Gathmann, Lina Grumm, Andreas Grahl, Henriette Grahnert, Mark Hamilton, Bertram Haude, Oliver Kossack, Andrea Legiehn, Thomas Lüer, Claudia Annette Maier, Ulrich Polster, Julius Popp, schau-vogel-schau, Julia Schmidt, Tilo Schulz, spector cut+paste, Christoph Weber, Arthur Zalewski
Sep 4 – Oct 10, 2009

KOW ISSUE 5: Spirituality and Anti-Universalism

, Chris Martin
May 1 – May 30, 2009

KOW ISSUE 4: THE SOCIAL USE OF SIGNS (OBLIGATION TO EXPRESS)


Apr 3 – Apr 27, 2009

KOW ISSUE 3: Detroits' Post-Fordism

, Michael E. Smith
Mar 27 – Mar 29, 2009

KOW ISSUE 1: Participatory Minimalism

, Franz Erhard Walther
Feb 27 – Mar 21, 2009

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