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Mother’s Tongue and Father’s Mouth

curated by 2017, Unttld Contemporary, Vienna

15 09 2017 — 14 10 2017
Raphaela Vogel, intervention on gallery front, digital print on vinyl, approx 500 x 280 cm, Unttld Contemorary, 2017Paul Sochacki: Spoken World, 2013, video, 8 min 3 sec, installation view, Unttld Contemporary, 2017Installation view, Unttld Contemporary, 2017Paul Sochacki: Untitled, 2016, 90 x 70 cm, installation view, Unttld Contemporary, 2017Karl Holmqvist, installation view, Unttld Contemporary, 2017Karl Holmqvist, installation view, Unttld Contemporary, 2017Karl Holmqvist, Untitled (#JAJANEINNEIN), print on canvas, 180 x 180 cm, installation view, Unttld Contemporary, 2017Raphaela Vogel: Collision, 2014, video, projector, speakers, rusted metal scale, installation view, Unttld Contemporary, 2017Raphaela Vogel: Collision, 2014, video, projector, speakers, rusted metal scale, installation view, Unttld Contemporary, 2017Raphaela Vogel: Collision, 2014, video, projector, speakers, rusted metal scale, installation view, Unttld Contemporary, 2017Installation view, Unttld Contemporary 2017.Paul Sochacki: Tender Walls, 2012, oil on canvas, 115 x 90 cm, installation view, Unttld Contemporary, 2017Paul Sochacki, installation view, Unttld Contemporary, 2017Lina Hermsdorf: A Biologically Immortal Living Being Can Still Die, 2016, (Detail), 19 documents, each 30 x 40 cm, installation view, Unttld Contemporary, 2017Paul Sochacki, installation view, Unttld Contemporary, 2017Raphaela Vogel, intervention on gallery front, digital print on vinyl, approx 500 x 280 cm, Unttld Contemorary, 2017
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with works by:
Lina Hermsdorf, Karl Holmqvist, Daniel Keller, Klaus Lutz, Paul Sochacki & Raphaela Vogel

Perfromances:
14.9., Lina Hermsdorf
6.10., Daniel Keller

“The relation between now and tomorrow, between the present state of the world and the future state of the world is not necessary (that is, necessitated). The present does not contain the future as a linear development. The emergence of a form among many possible forms is the – provisional and unstable – effect of a polarization, the fixation of a pattern.”
– Franco Bifo Berardi

What connects language and art is the assertion of a time-bound utterance that is attributed a truth content. Just as Bifo contrasts the possibility and linking of the present with a form of “future”, and so confronts the human body with the choice of having to make a conscious decision, precisely these unconscious processes are to be found again in language and art. Every single conscious decision-making process can lead to a variation of future and, in this way, every work of art can mutate into an uttered statement on our time. This mutation in the form of a statement is not necessarily easy to apprehend; even more difficult is its adequate description. The authenticity inhering to this asserted statement needs to be scrutinised, every time, at all times.

Our language is an extendable yet seemingly unyielding mixed mass. It is everything and nothing. Language happens without thinking, it has formed on its own in human evolution simply by being used. And it forms itself in such a way that, right down to the present day, it remains unclear how human language could develop in the first place. The result of a leading global study from 2014 came to the sober conclusion that “the origins and evolution of our linguistic capacity remain as mysterious as ever.”

Despite this mysteriousness, language sets the horizon of thought content – it resides prior to thinking. The limits of one’s own world, what one is, are set by the boundaries of one’s language. The realm of the possible/viable and thus the facets of “reality/future/past” reside in a capacity to use language to visualise them. What can be said is transferred into the realm of probability, becomes an eventuality. True or false. Fake or fact. The world is a totality of facts. But how are they to be verified or falsified? How meaningful is it to still rely on the imputative distinction true/false = meaning/meaningless?

Today, the false attracts more attention and is more popular than the good old truth (alt-right, post-truth, fake news, alternative facts, Trump Trump Trump, etc.). What importance can still be attached to asserting truth claims? Which realities/possibilities are being created here?

One beneficial use of language is (successful) communication. The logic inherent to language thus precedes the idea of efficiency. Language is geared to functioning and mediating. It strives to take a form and influence our perception. Creative thinking opposes efficiency, the interpretable, the abandoning of representation and the representative. Narrativity and fictionality complement each other.

One wants to veer out. Not deliver a linear vision, but show the diversity in variance. Find possibilities for a future language. Disconnect the necessary from the compelled and examine it. The not-understanding of a language does not inevitably mean remaining stuck without any insight. What would it be like to read art as a possible statement that, quite deliberately, cannot be understood epistemologically, or that circumvents the explicit logics of language? Perhaps it is precisely in playing with language that the possibility opens up of leaving behind meaning, sense and purposefulness. But so often we fall into the trap of an inherent logic immanent to a language utterance. Then recognising patterns, decoding is an unavoidable action of linguistic communication, as it is of art.

To understand works of art as the instruments of language used by artists means to interpret them as means for communicating with the world and self. Every artist develops his/her own reference system of language and thus his/her own degree of logic/non-logic, of utterance/assertion. The code of this language has to be found. The material encountered, the sentences or the abstract gestures to be read, are the starting point but not the endpoint of this search. Acquiring and appropriating an individual pictorial language to uncap one’s own thinking. Starting from our own language, we enter the world of possibilities of other people. Always based on a mélange of linguistic analysis and Freudian curiosity.

unttld contemporary, 4., Schleifmühlgasse 5:
cur. by_ Mélange (Patrick C. Haas & Jonas Schenk)

Excerpts from Lina Hermsdorf: A Biologically Immortal Living Being Can Still Die at Unttld Contemporary, Vienna, 14.9.2017.
Performer: Herny Babbage

Paul Czerlitzki & Eva Vuillemin

Liaison

12 10 2017 — 05 11 2017
Liaison, installation view, MÉLANGE 2017Liaison, installation view, MÉLANGE 2017Liaison, installation view, MÉLANGE 2017Eva Vuillemin, Untitled, 2017, digital print on fabric, each 60 x 90 cm, installation view, MÉLANGE 2017Paul Czerlitzki, Untitled, 2017, digital print, carpet, 200 x 300 cm. (on top) Eva Vuillemin, Zungen / Slug (With Mouth Agape Laughing Guts Out), 2016, silicon, foam, variable dim., installation view, MÉLANGE 2017Paul Czerlitzki, Untitled, 2017, digital print, carpet, 200 x 300 cm. (on top) Eva Vuillemin, Zungen / Slug (With Mouth Agape Laughing Guts Out), 2016, silicon, foam, variable dim., installation view, MÉLANGE 2017Liaison, installation view, MÉLANGE 2017Paul Czerlitzki, Untitled, 2017, digital print, carpet, 200 x 300 cm. (on top) Eva Vuillemin, Zungen / Slug (With Mouth Agape Laughing Guts Out), 2016, silicon, foam, variable dim., installation view, MÉLANGE 2017Eva Vuillemin, Zungen / Slug (With Mouth Agape Laughing Guts Out), 2016, silicon, foam, variable dim., installation view, MÉLANGE 2017Eva Vuillemin, (left) Mollusca, 2016, HD Video, 7'11Eva Vuillemin, (left) Mollusca, 2016, HD Video, 7'11Eva Vuillemin, Zungen / Slug (With Mouth Agape Laughing Guts Out), 2016, silicon, foam, variable dim., installation view, MÉLANGE 2017Eva Vuillemin, Zungen / Slug (With Mouth Agape Laughing Guts Out), 2016, silicon, foam, variable dim., installation view, MÉLANGE 2017Eva Vuillemin, (left) Mollusca, 2016, HD Video, 7'11Eva Vuillemin, Zungen / Slug (With Mouth Agape Laughing Guts Out), 2016, silicon, foam, variable dim., installation view, MÉLANGE 2017Paul Czerlitzki, Anna, 2015, detail, pigment on canvas, 210 x 220 cm. Paul Czerlitzki, Anna, 2015, pigment on canvas, 210 x 220 cm, installation view, MÉLANGE 2017Paul Czerlitzki, Anna, 2015, pigment on canvas, 210 x 220 cm, installation view, MÉLANGE 2017Paul Czerlitzki, Anna, 2015, pigment on canvas, 210 x 220 cm, installation view, MÉLANGE 2017Eva Vuillemin, Zungenlampe, 2017, silicon, LED, wire, dim. variable, installation view, MÉLANGE 2017Eva Vuillemin, Zungenlampe, 2017, silicon, LED, wire, dim. variable, installation view, MÉLANGE 2017Paul Czerlitzki, Anna, 2015, pigment on canvas, 210 x 220 cm, installation view, MÉLANGE 2017
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Let me try start with not to set an artificial mood or defining the word “liaison”. Let us just take in the show for a moment. Breath in. Breath out. Continue. Step back. Close your eyes. I originally wanted to start of with a Friday afternoon in a remote and rather sad café, close to...

Secession

Book Launch & Performance Night

07 10 2017 — 08 10 2017
Artist Arjan Jarry at his Cologne flat, October 2017Impressions from, Mélange Secession, King Georg, October 2017
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Book Launch & Performance night @King Georg with Ani Schulze, Inga Danysz, Alfons Knogl, Arjan Jarry & Tammo Lünemann Program: 9 pm Reading by Ani Schulze & Inga Danysz 9.30 pm Reading by Tammo Lünemann 10 pm Lecture lecture and performance performance by Arjan Jarry 10.30 pm Performance by Alfons Knogl with Mia Boysen &...

Mother’s Tongue and Father’s Mouth

curated by 2017, Unttld Contemporary, Vienna

15 09 2017 — 14 10 2017
Raphaela Vogel, intervention on gallery front, digital print on vinyl, approx 500 x 280 cm, Unttld Contemorary, 2017Paul Sochacki: Spoken World, 2013, video, 8 min 3 sec, installation view, Unttld Contemporary, 2017Installation view, Unttld Contemporary, 2017Paul Sochacki: Untitled, 2016, 90 x 70 cm, installation view, Unttld Contemporary, 2017Karl Holmqvist, installation view, Unttld Contemporary, 2017Karl Holmqvist, installation view, Unttld Contemporary, 2017Karl Holmqvist, Untitled (#JAJANEINNEIN), print on canvas, 180 x 180 cm, installation view, Unttld Contemporary, 2017Raphaela Vogel: Collision, 2014, video, projector, speakers, rusted metal scale, installation view, Unttld Contemporary, 2017Raphaela Vogel: Collision, 2014, video, projector, speakers, rusted metal scale, installation view, Unttld Contemporary, 2017Raphaela Vogel: Collision, 2014, video, projector, speakers, rusted metal scale, installation view, Unttld Contemporary, 2017Installation view, Unttld Contemporary 2017.Paul Sochacki: Tender Walls, 2012, oil on canvas, 115 x 90 cm, installation view, Unttld Contemporary, 2017Paul Sochacki, installation view, Unttld Contemporary, 2017Lina Hermsdorf: A Biologically Immortal Living Being Can Still Die, 2016, (Detail), 19 documents, each 30 x 40 cm, installation view, Unttld Contemporary, 2017Paul Sochacki, installation view, Unttld Contemporary, 2017Raphaela Vogel, intervention on gallery front, digital print on vinyl, approx 500 x 280 cm, Unttld Contemorary, 2017
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with works by: Lina Hermsdorf, Karl Holmqvist, Daniel Keller, Klaus Lutz, Paul Sochacki & Raphaela Vogel Perfromances: 14.9., Lina Hermsdorf 6.10., Daniel Keller “The relation between now and tomorrow, between the present state of the world and the future state of the world is not necessary (that is, necessitated). The present does not contain the...

Joachim Coucke

Strength in Numbers

07 09 2017 — 01 10 2017
Installation view, MÉLANGE 2017Installation view, MÉLANGE 2017Containing the Future — Engineered moments of approval, 2017Containing the Future — Engineered moments of approval, 2017Containing the Future — Engineered moments of approval, 2017Frequently Answered Questions — Growth, 2017 __ Containing the Future — Door to the mind, 2017 Frequently Answered Questions — Growth, 2017Frequently Answered Questions — Growth, 2017Containing the Future — Door to the mind, 2017Containing the Future — Door to the mind, 2017Frequently Answered Questions — Column 2017Frequently Answered Questions — Column 2017Installation view, MÉLANGE 2017Frequently Answered Questions — Column II 2017Strength in Numbers, 2017Strength in Numbers, 2017Strength in Numbers, 2017Strength in Numbers, 2017Strength in Numbers, 2017Strength in Numbers, 2017Strength in Numbers, 2017
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The prospect of A.I. and the many fortunes it will bring humanity, is seemingly driven by the unshakeable faith that is deeply rooted far beyond it’s Silicon Valley headquarters. Harmony and prosperity is believed to relinquish our burdens of daily routines. The possibility of choices cause distress in the terms of this techno-cult. Freedom is...

Xavier Mary & Eva L’Hoest

We have the same Scale

23 06 2017 — 26 08 2017
 Xavier Mary We have the same Scales, 2017 aluminium cast, installation view, MÉLANGE 2017 Xavier Mary We have the same Scales, 2017 aluminium cast, detail view, MÉLANGE 2017Eva L’Hoest Backface Culling, 2017 hand carved 3D Print, wood, 28 x 25 cm, installation view, MÉLANGE 2017Eva L'Hoest, installation view, MÉLANGE 2017Xavier Mary, installation view, MÉLANGE 2017Eva L’Hoest Biometric Spine, 2017 Metal, printed glass, dimensions variable, installation view, MÉLANGE 2017Eva L’Hoest Biometric Spine, 2017 Metal, printed glass, dimensions variable, detail view, MÉLANGE 2017Eva L'Hoest & Xavier Mary, Forbidden Edges, 2017, installation view, MÉLANGE 2017Eva L'Hoest & Xavier Mary, Forbidden Edges, 2017, installation view, MÉLANGE 2017Eva L'Hoest & Xavier Mary, Forbidden Edges, 2017, installation view, MÉLANGE 2017Eva L'Hoest & Xavier Mary, Forbidden Edges, 2017, installation view, MÉLANGE 2017Eva L’Hoest Laminaires Digitée, 2017 hand carved 3D Print, wood, 25 x 35 cm, installation view, MÉLANGE 2017Eva L’Hoest Laminaires Digitée, 2017 hand carved 3D Print, wood, 25 x 35 cm, detail view, MÉLANGE 2017Eva L’Hoest Les mêmes Écailles, 2017 hand carved 3D Print, wood, 25 x 35 cm, installation view, MÉLANGE 2017Eva L’Hoest Les mêmes Écailles, 2017 hand carved 3D Print, wood, 25 x 35 cm, detail view, MÉLANGE 2017
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Is it not, that we are all somehow connected through the same… yeah, what? Thoughts? Desires? Mindsets? Beliefs? Or through our DNA? If not anything else, it is the biology of the body that somehow defines our basic nature as a whole. Yet, despite the mutual molecular structure, there is something involved that separates us,...

Daniel Koniusz / Talisa Lallai

curated by Wschód Gallery

12 05 2017 — 04 06 2017
Daniel Koniusz, Untitled 004 (DA), 2017 40x60 cm Marble, polyvinyl chloride MÉLANGE 2017Daniel Koniusz, Untitled 004 (DA), 2017 40x60 cm Marble, polyvinyl chloride MÉLANGE 2017Daniel Koniusz / Talisa Lallai - Installation View MÉLANGE 2017Daniel Koniusz / Talisa Lallai - Installation View MÉLANGE 2017Talisa Lallai Identical dream, 2017  42 x 32 cm Inkjet print MÉLANGE 2017Talisa Lallai Identical dream, 2017  42 x 32 cm Inkjet print MÉLANGE 2017Talisa Lallai Untitled (Staghorn sumac), 2015  26,5 x 26,3 cm Polaroid MÉLANGE 2017Daniel Koniusz / Talisa Lallai - Installation View MÉLANGE 2017Daniel Koniusz, Untitled 004 (DA), 2017, 40x60 cm Marble, polyvinyl chloride MÉLANGE 2017Daniel Koniusz, Untitled 004 (DA), 2017, 40x60 cm Marble, polyvinyl chloride MÉLANGE 2017Daniel Koniusz / Talisa Lallai - Installation View MÉLANGE 2017
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Daniel Koniusz / Talisa Lallai Different notions of nature appear throughout the works by Koniusz and Lallai that evoke a certain atmosphere of condensed tranquility. Thru their constellation of interacting embracement a shared prospect for history becomes evident, possibly reminding of the romanticized idea of the idyll, developed in the Greek-Romanic antique. Taking place in...

Edition

BOX TWO

08 05 2017 — 08 05 2017

MÉLANGE is proud to publish its second edition box with works by 13 Artist that were part of the second year of programming. The presentation will be curated by Hard-Core. Participating Artists: ATLAS ECONOMY, Amy BALL, Alexander BORNSCHEIN, Zuzanna CZEBATUL, Christophe DE ROHAN-CHABOT, DCTHK, Henning FEHR & Philipp RÜHR, HARD-CORE, Melike KARA, Daniel KISS, Klaus...

Stefano Calligaro

U reallyWnna ClimbThStairkaseOfSUccess MuffnLicker?!

06 04 2017 — 30 04 2017
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MÉLANGE is puzzled and happy to host Stefano Calligaro´s (*1976 Cividale del Friuli, Italy, based in Cluj-Napoca, Romania) first solo show in Cologne. Why do we need to make things, build things, fill our rooms with things when we have paper and pockets? I’ve always been skeptical about art: Objects piling; parasites subletting our little...

Zuzanna Czebatul

Away

10 03 2017 — 02 04 2017
Zuzanna Czebatul, Shore of Abundance, 2017, plexi, paint, dimensions variable. Zuzanna Czebatul, Shore of Abundance, 2017, plexi, paint, dimensions variable. Zuzanna Czebatul, Shore of Abundance, 2017, plexi, paint, dimensions variable. Zuzanna Czebatul, Shore of Abundance, 2017, plexi, paint, dimensions variable. Zuzanna Czebatul - Away, installation view, Melange 2017Zuzanna Czebatul - Away, installation view, Melange 2017Zuzanna Czebatul, Shore of Abundance, 2017, plexi, paint, dimensions variable. Zuzanna Czebatul - Away, installation view, Melange 2017Zuzanna Czebatul - Away, installation view, Melange 2017Zuzanna Czebatul - Away, installation view, Melange 2017Zuzanna Czebatul, Shore of Abundance, 2017, plexi, paint, dimensions variable. Zuzanna Czebatul, Shore of Abundance, 2017, plexi, paint, dimensions variable. Zuzanna Czebatul, Shore of Abundance, 2017, plexi, paint, dimensions variable.
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Enduring this exhausting voyage over a hostile ocean, seeking what they thought to be lost forever, why was it this archipelago they arrived to? For they have left everything behind, never to return, escaping from this tremendous insanity. They only wished for a life in harmony, something that once might be called humanity again. As...

Klaus Kleine

Elephant in the Dark

26 01 2017 — 28 02 2017
Klaus Kleine: facade 1, 2016, variable dimensions, installation view, MÉLANGE 2017.Klaus Kleine: facade 1 (detail), 2016, variable dimensions, installation view, MÉLANGE 2017.Klaus Kleine: RF 2, 2017, acrylic paint, ceramic, 29 x 21,5 cm, unique piece.Klaus Kleine: RF 2, 2017, acrylic paint, ceramic, 29 x 21,5 cm, unique piece.Installation view, Klaus Kleine - Elephant in the Dark, MÉLANGE 2017.Installation view, Klaus Kleine - Elephant in the Dark, MÉLANGE 2017.Klaus Kleine: O.T., 2016, acrylic paint, ceramic, 29 x 21,5 cm, unique piece.Klaus Kleine: O.T., 2016, acrylic paint, ceramic, 29 x 21,5 cm, unique piece.Klaus Kleine: RF 3, 2017, acrylic paint, ceramic, 29 x 21,5 cm, unique piece.Installation view, Klaus Kleine - Elephant in the Dark, MÉLANGE 2017.Klaus Kleine: cava 1, 2017, archival inkjet print, 34 x 40 cm (unframed).Installation view, Klaus Kleine - Elephant in the Dark, MÉLANGE 2017.Installation view, Klaus Kleine - Elephant in the Dark, MÉLANGE 2017.Klaus Kleine: RF 2, 2017, acrylic paint, ceramic, 29 x 21,5 cm, unique piece.Klaus Kleine: RF 2, 2017, acrylic paint, ceramic, 29 x 21,5 cm, unique piece.Klaus Kleine: facade 1, 2016, variable dimensions, installation view, MÉLANGE 2017.Klaus Kleine: facade 1, 2016, variable dimensions, installation view, MÉLANGE 2017.
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Perceiving the world differently is one of the advantages