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IT IS SO ****** AMAZING TO BE AN ONOMATOPEE FAN ON FACEBOOK AND TO FOLLOW THEIR TWITTERFEED: I JUST CAN’T WAIT TO SHARE AND RETWEET IT ALL!
OMP98.1 / project
OMP117 / Cabinet project
Heyheydehaas (NL), Julien Carretero (FR/BE), Thomas Lommee (BE), Uglycute (S), Mireia c. Saladrigues (SP), John Körmeling (NL), Ryan Gander (UK), Aurélien Froment (FR).
Contributing authors: Petra Van Brabandt, Paul De Bruyne, Florian Schneider, Rene ten Bos and interviews with Slava Kozlov by Harvey Herman and Arnon Grunberg by Laurence Scherz.
A project by De Brakke Grond Amsterdam, hosted by Onomatopee .
Exhibition at De Brakke Grond Amsterdam:
Opening April 16th
running untill May 16th
Exhibition at Onomatopee Eindhoven
opening June 5th, running untill July 12th
Life is a party game – but who are the other players? Usually, we play with our own kind of people, people from our own ‘tribe’. Within our own group, we are familiar with the ambitions, with those factors that contribute to success, and with the winners. Things don’t get really exciting until we move into a different field of play, expand our territory onto other gaming boards, admit new players or different elements.
In the exhibition Let’s Start Playing the Game, both artists and audiences will re-invent the form and rules of this party game. If really we want to stimulate innovation and open dialogue, it’s no use just playing the game by the rules. A certain degree of anarchy and flexibility in relation to the rules is necessary to stimulate creativity and co-creation.
Heyheydehaas, Julien Carretero, Thomas Lommee and Uglycute have designed four new games for this exhibition on the basis of their expertise in the creation of relevant, stimulating situations in which production, dialogue and wonder can come together. The games are like satellites in this universe, the entrance to and routes through which have been created by designer Anthony Kleinepier.
In addition, existing works with a playful component will be shown by artists Mireia c. Saladrigues, John Körmeling, Ryan Gander and Aurelien Froment. Each taking its own course and creating its own perspective – but all offering possibilities to follow different paths.
Visitors will be challenged to take part in the games, both to learn and to enjoy: to play with ambitions, social needs and identity on the basis of forms of production and interaction. Welcome to this world, in which every game can be passed through resolutely, and with other players, familiar and unfamiliar. This playful experience is a real challenge. / Let’s start playing the game!
Let’s start playing the game! Is part of Hack / Play, a month in which we re-write the rules. For a whole month De Brakke Grond will provide a space in which to push at boundaries of the rules of play. Play along in the exhibition, at the market, in the theatre, on the gaming board, in the city and in your head.
Curated by Freek Lomme in collaboration with Veerle Devreese for the Flemish art centre ‘De Brakke Grond’ Amsterdam, The Netherlands, hosted by Onomatopee.
Spatial design exhibition: Anthony Kleinepier
Graphic design: Strange Attractors
Made possible thanks to the generous support of Stichting DOEN and the Flemish government
April 12 - May 17
open thursday’s to Sunday’s 13:00-17:00 and by appointment
Location: Onomatopee Eindhoven, Hallenweg 1C
Investigations of different visual, linguistic and musical grammars are the central fields of interest in Elisabeth Penker’s work.
The exhibition presents for the first time the complete series of Split Representation painted photo-collages where Penker applies a formal method image making discussed by Claude Levi-Strauss in his essay Split Representation in the Art of Asia and the America. Here Levi-Strauss compares different cultures in different periods in time, ranging from Shang (China, 1600-1000 BC), Caduveo (Brazil) Maori (New Zealand) and Haida Gwaii (Canada), which all used identical stylistic elements and show obvious analogies in how they conceived the body and face. The face is not seen from the front but two profiles are merged in order to form a symmetrical frontal view, a much earlier concept of conceiving multi-dimensionality, akin to later developments within Modernism. Today we find parallels to the concept of the body within montage, 3D imaging and image capture.
The accompanying sound piece Comparative Morphemes is based on the classification of languages, when linguists attempted to group the world’s languages into four morphological categories based on how words are formed (Chinese, Turkish, Latin, Eskimo). In Penker’s composition a selected language from each of these groups is deconstructed into minimal phonetic units and transformed into a sonic structure.
The exhibition is a prelude to her upcoming publication Split Representation and Related Works, to be published in autumn 2015.
Elisabeth Penker studied sculpture at the Academy of Fine Arts in Vienna and at the National Academy of Fine Arts in Oslo. In 2005 Penker undertook a research residency at the Jan van Eyck Academy in Maastricht, followed by a doctoral research fellowship at the Austrian Academy of Sciences. Additionally she worked in sound studios in Chicago (Maestro Matic) and London (De Lane Lea) for film post-production.
She lives and works in Vienna, Austria.
!!! new location:
5611 EM Eindhoven
OMP120 / Research project
5611 EM Eindhoven
May - June:
Jim Ricks (US/IRL)
June - July
Anne de Vries (NL)
September – October
November - December
Jasmina Cibic (SLO)
Symbols make story lines come alive. Through specialists’ visual narratives this series of solo exhibitions and publications offers expanding orientations and provides deepening perspectives to the present symbolic ordering.
What connects these artists in spite of the differences in their visual language and themes is the careful use of symbolic carriers. In an art-historic tradition they play with iconographic elements. Objects and signs are symbolically activated: sometimes as emblem, sometimes as a means to add character and sometimes as interpreting token. They play the identification of identity: recognisable to some as a relevant symbol of an urgent theme and to others as a familiar motive from literature, art, everyday life or popular culture.
Each exhibition consists of a room where a new work will be shown in all its splendour and a room with documentation: a filmed interview with the artist, reading tables, documentation of previous works, details of the exhibited work and more. We also offer a publication that will allow you to discover more backgrounds, motives, stories and areas of tension.
In the identification of identity, in the connection of motive and theme, of emblem and experience, these artists are incredibly valuable to us, inhabitants of a visual culture. Through their visual narratives we can acknowledge new recognitions and refresh the known. Onomatopee is excited to present them to you in order to take their expertise as a lead to deepen our experiences together.
By re-arranging aspects of our visual arsenal, these artists present a poetic horizon of our life. From their professional stance they provide extraordinary points of view and offer us the ability to find additional value in our life experience. Their poetry is the key to the surprising experience and the expanding perspectives that we are privileged to encounter; it opens doors to life knowledge and life skills within visual culture.
Producer, curator and editor: Freek Lomme
Graphic design: Glamcult studio
Spatial design: PeLiDesign
The series is made possible with the support of the Mondriaan Fund and the municipality of Eindhoven
Opening Saturday May 2nd, 15:00
May 3rd - June 14th
Open Friday - Sunday 13:00 - 17:00
and by appointment
In a setting somewhere between a market stall and a museum display, Jim Ricks pairs up found, bought, borrowed and ‘knocked-off’ objects, and advances a synchronicity based on politics, aesthetics, history, and philosophy.
We live our lives amidst a multitude of images and narratives: experience and economy are the twin-engine of our culture. But what kind of stories do these images convey: what do they introduce and what do they contribute? Is retro a foxy do or a fusty don’t? Is local a wayward hot… or a backward not…? It would be a interesting idea to check this out and perhaps use it to our advantage.
Through suggested and captured weavings of object-scenarios Jim Ricks extracts symbolic bits and pieces of history and everyday life, destined to be re-worked, splintered and re-imagined. New narratives arise in which the economic globalisation of goods crosses paths with the rapid and ephemeral circulation of cultures and icons. Placed in a context of display, viewers are invited to devise their own connections between the objects on display: to play the cultural clash of the local and the global, the individual and the collective, and investigate new relations through identification.
Starting from a (possibly faulty) position as an American expat presently residing in Dublin, he has developed a sensitivity to the geographic import and export of images and narratives. By revaluing the popular and re-defining its elements, Jim Ricks endeavours to address our cultural knowledge with us. As admirers of his visual scrutiny Onomatopee invited Ricks to Eindhoven to share his insights with us. During an initial exploration of the city, Ricks has made inquiries into meaningful objects to engage our identification.
In conjunction with the resultant narrative of spatial objects, Onomatopee presents various other visual stories: a short film that shows Jim ruminating on visual culture with critic Max Bruinsma, as well as some other background information that we hope will be useful for those keen to put their views on their own visual culture to the test. By interrogating our experience of the visual culture we surround ourselves with, we might grasp the option to participate in an era of cultural populism. Hail to the populus!*
*In her book Pop or Populus Bettina Funcke defines populus as ‘…the totality of citizens of a state as a unified political body–as well as the lower classes of the poor, the dispossessed, the excluded, those not included in the conversation’.
Producer, curator and editor: Freek Lomme
Project assistance: Harvey Herman
Graphic design: Glamcult studio
Spatial design: PeLiDesign
Made possible with the support of the Mondriaan Fund and the municipality of Eindhoven
5611 EM Eindhoven
Opening May 2nd, 16:00
Exhibition dates: May 3 – May 31, 2015
Festival with book release: May 23, 2015
On May 23rd, Onomatopee organises a panel and festival in the framework of the Set-Up PROGRAMME in which this publication and exhibition are featured.
Can You Hear Me? Music Labels by Visual Artists is the first survey on the obscure and fascinating phenomenon of record labels founded and run by visual artists. It reflects on the way these extra-artistic activities contribute to redefining the role of the contemporary artist as a catalyst of intellectual energies and producer of cultural processes at large. Moreover, it tries to understand if and how these activities challenged the art world’s static and modern perception of art and art works.
Spanning 1980 to 2015, the project consists in a book and an exhibition that celebrate the contemporary artist as a multi-facetted producer of collaborative projects. The highlighted labels have released a dynamic spectrum of activities in and outside the art world and remained untouched by its unwritten capitalist code, attempting to develop alternative forms of cultural production and attract new audiences.
Very few know that Andy Warhol had a record label, Earhole Productions, which in 1980 released its only record: The Joke / Chase The Dragon, by Walter Steding and The Dragon People which can be regarded as the first release by an artist’s label. In 1983, Jean-Michel Basquiat’s Tartown Record Co. released one single record as well: the iconic Beat Bop by Rammellzee and K-Rob which became pivotal in the history of artists’ labels as well as of hip hop.
Since the nineties, major artists such as Mike Kelley, Albert Oehlen, John Armleder, Carlos Amorales, Carsten Nicolai, and Seth Price started their own record labels. Empowered by the D.I.Y. ethic and the opportunities of the independent music and artists’ “publications” market, they put their individual experience as visual artists at the service of hybrid, often collaborative operations. Even in the era of the dematerialisation of music, most of these artists have continued to release vinyl records and CDs, promote bands, and produce parties and tours.
This project zooms in on 25 record labels from Europe, the United States and Mexico, touching upon their position in a wider tradition of independent music, art rock and artists’ mock enterprises; their performative features; their collective and participative nature; and the D.I.Y. ethos embodied in the production of records and ephemera. As a direct extension of the book, the exhibition presents original artworks, records, ephemera, videos, and rare archival treasures.
RECORD LABELS FEATURED
Arcangel Surfware, Avant/Savant, Awesome Vistas, Beige Records, Chicks on Speed Records, Compound Annex, D.S. al Coda, Decemberism, Distributed History, Duchess Archive, Earhole Productions, Elektro Music Department, Hyena, Kalup Linzy Studio, Leiterwagen, Make it Happen, Musicsystem, Nuevos Ricos, raster-noton, Synchronic, Tartown Record Co., Teenage Teardrops, Villa Magica, Von Archives, and Wierd.
Carlos Amorales, Cory Arcangel, John Amrleder and Sylvie Fleury, Jean-Michel Basquiat, Johanna Billing, Matthew Brannon, Chicks on Speed, Paul B. Davis, Destroy All Monsters, Cali Thornhill Dewitt, Dexter Sinister, DJ Spooky, Chris Johanson, Mike Kelley, Kalup Linzy, Lucy McKenzie, Carsten Nicolai, Albert Oehlen. Daniel Pflumm, Seth Price, Pieter Schoolwerth, SUPERFLEX, Mika Tajima, Nico Vascellari, Andy Warhol, and Alex Waterman.
AUTHOR AND CURATOR
Francesco Spampinato is a contemporary art and visual culture historian, writer and artist. He holds degrees from the University of Bologna and Columbia University, New York, and is currently Ph.D. candidate in Arts et Média at Sorbonne Nouvelle, Paris. He is Adjunct Professor at Rhode Island School of Design, Providence, where he teaches courses on contemporary art history and theory and on performance art. He has also taught at NABA, Milan, and Parsons School of Design, The New School, New York. He is the author of Come Together: The Rise of Cooperative Art and Design, Princeton Architectural Press 2015. Lives and works in New York.
Curator: Francesco Spampinato
Assistant curator and production: Pernilla Ellens
Assistant production: Harvey Herman
Graphic Design: Arthur Roeloffzen
This project has been made possible thanks to the generous support of the Municipality of Eindhoven and the Mondriaan Fund.
11’’ x 17’’ by Elisa van Joolen, designed by Our Polite Society
Into longing, vast rock by Joan van Barneveld, designed by Brusatto
The Bungalow by Anouk Kruithof, designed by Christof Nussili
OMP95 / Cabinet project
OMP39 / Cabinet project