The ongoing global crisis, triggered by the Corona Pandemic, continues to test everyday life such as living and working to this day. Domestic Drama, a group exhibition conceived for the HALLE FÜR KUNST Steiermark, focuses on the interior, i.e. the architecture of the home and the objects that often exist in passing within it, and creates a specific narrative about the home that is currently being put to the test.
“But can there be a story of the interior itself, or the mechanisms by which space is constructed as interior?”
The ongoing global crisis, triggered by the Corona pandemic, continues to put constants of everyday life such as living and working to the test. The home is being transformed from a place of retreat to a permanent production site in which, among other things, the boundaries between paid and care work are disappearing and the conflicts that formerly took place outside are being fought out inside the private sphere. Long before the crisis described above, the home was already a contested bastion in which many conflicts intrinsic to culture, such as gender issues, came to light. Domestic Drama, a group exhibition conceived for HALLE FÜR KUNST Steiermark and presenting works by different generations of artists, creates a specific narrative about that increasingly relevant image of the home and places the interior, i.e. the architecture of the home and the objects that often casually exist within it, at the center of attention.
The exhibition is composed of new productions, site-specific works, and pre-existing works located in the field of sculpture that transform the building’s great hall into a stage-like setting. The term Domestic Drama, which lends the exhibition its title, was first used by architectural theorist Beatriz Colomina in the essay The Split Wall: Domestic Voyeurism, published in 1992. In this essay, Colomina devotes herself to architectural concepts of the living space, which in their design create stage-like situations and equally allow the subjects and objects within them to become the protagonists of a “domestic drama.” In relation to the exhibition, the psychological dimension resonating in the term interior is particularly interesting, since the interior of a house is often perceived as a symbol of the characters living in it. Thus, thinking about the term interior offers the opportunity to reflect on economic, social, and ideological mechanisms that shape our private sphere. Not only Beatriz Colomina’s reflections play an important role here, but also the theories of the feminist scientist and theorist Sara Ahmed, who, among other things, has decisively influenced the discourse around the so-called “affective turn,” which deals with emotionality from a cultural and gender-theoretical perspective.
Within a comprehensive framework and mediation program, ephemeral formats such as discussions, film screenings, readings, and performances will contextualize and expand the exhibition’s various thematic focuses. Here, the home will be placed in a larger, political context and, among other things, the explosively discussed concept of the “homeland” will be reflected upon. The exhibition project Domestic Drama, which is relevant beyond the current situation, will be accompanied journalistically in the form of a reader consisting of text and image material.
Curated by Cathrin Mayer
makes sculptures which present themselves as artifacts from a near future, emulating the forms of everyday objects while obscuring their own purpose.
Blatrix‘s work will be shown in the upcoming solo exhibition at Centre d‘art contemporain la synagogue de Delme (2021), his recent solo exhibitions include Kunsthalle Basel in, Basel; Galerie Balice Hertling, Paris; CCA Wattis, San Francisco and Mostyn Museum, Wales. His work has been included in group exhibitions at Kunstmuseum St. Gallen, St Gallen; Fri Art Kunsthalle, Fribourg; Furosia, Monaco; Villa Medici, Rome; Fondation Lafayette, Paris; Hessel Museum of Art and the CCS Bard Galleries, Annandale-on-Hudson, and MRAC, Serigan. Blatrix participated in the 2015 Lyon Biennale, Lyon.
works mainly sculpturally, his pieces are a compilation of diverse forms and materials that reference film, literature, art and society.
Recent solo exhibitions include the Stadium, Berlin; St. Joseph, Künstlerhaus Bethanien, Berlin; Hopkinson Mossman, Auckland; The Agamemnon, Frankfurt am Main; and the Sculpture Terrace, Auckland Art Gallery Toi o Tamaki; Artspace, Auckland. In 2017, Enberg was on show at Art Basel Statements and awarded the German ars viva 2018 Prize, which included exhibitions at Kunstverein Munich and S.M.A.K in Ghent, Belgium. He is currently a fellow of the Creative New Zealand Visual Arts Residency at Künstlerhaus Bethanien in Berlin.
Through her poetic and radical oeuvre, the Palestinian-British artist explores themes of home and displacement, gender and differences, and exposes the contradictions and conflicts of our world today. Recent solo exhibitions include the Tate Modern, London; Kiasma Museum of Contemporary Art, Helsinki; and Mathaf: Arab Museum of Modern Art, Doha.
She was part of the documenta 14, Kassel; other selected group exhibitions took place at Martin-Gropius-Bau, Berlin; MoMA, New York; Israel Museum, Jerusalem; Wexner Center for the Arts, Columbus, a.o.
developed a multidisciplinary practice that playfully merged the principles of art and design.
Her work will be shown in the upcoming solo exhibition at Alison Jacques Gallery, London (2021); her recent solo exhibitions include Sculpture Center, New York; Elga Wimmer PCC, New York; and the Liverpool Biennial, Liverpool.
Selected group exhibitions are at the Hammer Museum and The Huntington Library, Art Museum and Botanical Gardens, Los Angeles; Musée d’Art Moderne et Contemporain (MAMAC), Nice; Friedman Benda, New York; Elga Wimmer PCC, New York; Arsenal Contemporary, New York; Palazzo Pisani, Piano Nobile, Venice Biennial, Venice; Hauser & Wirth, New York; Tate Modern, London; Beaux-arts Buxerolles, Buxerolles, France; and SECCA (Southeastern Center for Contemporary Art), Winston-Salem, North Carolina.
is an artist whose practice is positioned between experiments in sculpture, drawing, performance and installation.
Ogunnaike is currently exhibiting at Cell Space, London (2021). Recent projects took place at Villa Lontana, Rome; and at Tate Modern, London as part of ‘ELC TV Dinner Episode III, at Jupiter Woods, London; and at Greatorex, London with selected group exhibitions including, Espace Arlaud, Lausanne; Sophie Tappeiner, Vienna; Doc, Paris and PS120, Berlin. Ogunnaike participated in the residency program at Wysing Arts Centre, Cambridge in 2018 and South London Gallery in 2017.
is an interdisciplinary artist from Estonia, who has been awarded with a number of prizes and scholarships like the Eduard Wiiralt scholarship, Ado Vabbe scholarship, annual prize of The Cultural Endowment of Estonia, Köler Prize grand prix, and the grand prize of The Cultural Endowment of Estonia.
She has recently exhibited at Kunstraum Memphis, Linz; Vienna Art Week Open Studios program, Vienna; Gallery Vaal, Tallinn; ARS Showroom, Tallinn; Tartu Art House, Tartu; Gallery Hobusepea, Tallinn; Kunda Cement Museum, Kunda; Atelierhaus Höherweg e. V., Düsseldorf; Gallery Maebashi Works, Japan; Christianshavn, Copenhagen; Tartu Art Museum, Tartu; and the Gallery Chemin du Bonheur, Hokuto-shi, Yamanashi.
explores his fascination for photography’s ambivalent symbol as surface and object, representation and appropriation.
Selected solo exhibitions include the Kunsthalle Lissabon, Lisbon; and Serralves Museum of Contemporary Art, Porto. He recently participated in group exhibitions such as BQ Berlin, Berlin; at Kraupa-Tuskany Zeidler, Berlin; Union Pacific, London; Galerie Juliette Jongma, Amsterdam; and Jeanine Hofland Contemporary Art, Amsterdam.
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