12 November 2022
In her practice, Hannah Hallermann often links everyday objects with complex social issues of our times within her own form of "social sculpture". In the interactive installation 'Agent' (2021), visitors are invited to participate in a collective process of decision-making in which the tensions of global issues and the hope for social change are rendered compellingly tangible. A drawn archery bow is connected to a display on which participants respond to questions formulated by Hallermann. "Once there is a critical majority for one of the possible answers, the bow automatically releases and becomes the physical harbinger of a decision."
The arrow hits the strips of a thick, blue butcher's curtain, triggering ripples in every direction and a passage to another realm or state. "Agent" combines the notion of an autonomously operating machine with the potency of human thought and decision-making processes. The work can simultaneously be a call to action and an impetus to see oneself as part of a network." * Finally, visitors find themselves confronted with the question: ARE YOU SATISFIED WITH YOUR DECISION?
For the project space ANNA, Hannah Hallermann flips the work: The confrontation with the consequence of one's decision now takes place at the beginning of the encounter: ARE YOU SATISFIED WITH YOUR DECISION? is asked before we know the matter on which we are to decide. We find ourselves in front of large blue curtains. The curtain is almost too familiar in art history and dream interpretation. From Titian to Jung to Felix Gonzales Torres, the curtain appears time and again to pose the question: What is concealed? What is protected? And above all: what lies behind it, what comes next? The curtain as a metaphor for an intermediate stage—a transition from the known to the unknown, from the familiar to the uncertain. Those who want to face the questions must push through. In the process, they temporarily cut the form of the curtain and the question, and thereby transform.
Both forms of 'Agent' hint at the butterfly effect, which holds that even a tiny change in the preconditions makes the further course of a system unpredictable. Thus, the goal becomes the positioning within transitions and contradictions. In the current world situation, this entails being inspired to venture into uncertainty, overcoming the fear of error and course correction, and constant scrutiny of one's own attitude.
*Saskia Trebing on Hannah Hallermann in "Tools and Tales for Transformation", 2022, Hatje Cantz
November 12 – December 31, 2022
Opening hours: Wed & Thu, 4 – 8pm & by appointment
Kindly supported by
25 October 2022
In addition to our stroll with the author Paul-Philipp Hanske and the designer Aurelia Markwalder, a limited edition of printed cards were produced by the artists. The card reflects on the curatorial concept behind ANNA, which addresses questions of participation and social involvement in analogue and digital spaces. Following this thought, and with the help of the card, the citizens of Leipzig can now independently walk through the Kolonnadenviertel and discover the peculiarities of the urban flora.
Text: Paul-Philipp Hanske
Design and letterpress: More Impression
Size: 85mm × 140mm
Typeface: 8p Memphis thin
Paper: Munken Lynx, 300mg
Edition of 100
Photo: Aurelia Markwalder
Please reserve your free copy at firstname.lastname@example.org
The card is also available at Galerie Nina Mielcarczyk, Käthe-Kollwitz-Straße 13, Friday – Saturday 12 – 5
or at More Impression, Reclamstraße 51, Leipzig.
22 July 2022
Together with author Paul-Philipp Hanske and designer Aurelia Markwalder we will walk through the immediate neighbourhood of ANNA; the historic ‚Kolonnadenviertel‘. The centre stage of this stroll take the oddities of this city space, especially the urban flora, which has been planted and fenced in by humans but still proofs its wilfulness.
Following the tour Aurelia Markwalder will create a limited-edition map, with the help of which the citizens of Leipzig can go on a discovery tour through the district on their own.
Paul-Philipp Hanske, born 1975 in Regensburg, is the founder and partner of the editorial agency Nansen & Piccard in Munich, where he’s responsible for cultural topics, among others. With his colleague Benedikt Sarreiter he wrote the book „Neues von der anderen Seite / News from the other side“ (Suhrkamp, 2015), in which they detail the psychedelic renaissance. Also published by Suhrkamp from Hanske is the 2018 book „Die Blüten der Stadt / The blossoms of the city“ (together with the photographer Christian Werner), which presents and explains the urban flora during the changing of the seasons. At the moment he is working towards the phenomena of ecstasy in contemporary culture, on which he will publish a book together with Benedikt Sarreiter at Matthes & Seitz Berlin, in early 2023.
Aurelia Markwalder, born 1980 in Basel (CH), has lived in Leipzig since 2006. Before that, she completed her training as a cook in St. Gallen (CH) and worked for three years at the lithographic print shop Stoob. During this time she printed flyers and posters for the St. Gallen art, culture and gastronomy scene in her own lead-typesetting workshop. In 2006, while studying at the Hochschule für Grafik und Buchkunst, she met Luise Bartels on a rooftop and since they've worked together as a freelance graphic artist and type designer under the name "Ernst und Mund". In 2017, they founded the multiple award-winning workshop "More Impression" in East Leipzig, which combines analogue lead type with the digital user interface of the computer.
Kindly supported by
8 July 2022
Dreams that money can buy is a continuous series of (so far) 19 dreams, which I wrote down in the last years after waking up. The connection between these dreams are that they’re all narration of encounters with other artists and their (fictitious) work: a.o. Daniel Spoerri, Kurty Ryslavi. The title references a eponymous film from Hans Richter (1947), in which a man decides to sell his dreams – and in which numerous artists and their (fictitious) work are seen in supporting roles and dream sequences, too: Man Ray, Marcel Duchamp, Alexander Calder and Fernand Léger.
Dreams are not just a personal and intimate occurrence, but also this place, in which we are connected to a new environment. The dream, in that sense, contains a peculiar characteristic, because it’s not only a private and individual realm, but also creates a place of commonality. This thought frames my performance, for its basis are the dream-texts. The curators themselves will transfer these dreams to the audience. This uses the form of retelling, so verbal medialization, through which the dreams not only become public, but there is also a new narrative level begot between the performers and the audience. As a result the dreams are being disconnected from their author and open up a new plain of reality, in which the dream-encounters and the artworks become autonomous.
Kindly supported by
Alwina Pampuch & Nina Mielcarczyk
04109 Leipzig, Germany
Responsible in terms of § 10 MDStV & § 6 TDG:
Alwina Pampuch & Nina Mielcarczyk (curators)
04109 Leipzig, Germany
Design: Paul Bowler
Made with Lay Theme
Photographer: Christian A. Werner
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