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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 to be dispelled as it only limits your purposes. What good could we do, if we weren´t strained by those troublesome nuisances (What shall I buy? What shall I do? What shall I believe?) Think of all the time we could spend on projects, dreams or just ourselves, if someone – or rather something – would take care of this.

The reasonable anxiety toward the idea that machines will eventually taking over humanity goes back to early industrialization, when Julien Offray de La Mettrie imagined a transformation from human to a machine in L´homme maschine (1748), one solely driven by pleasure and lack of pleasure, like and dislike. When smartphone owners consult their devices about 150 times a day (as according to a recent study) hoping for short moments of relief and distraction, La Mettrie’s visions have a strange truth to them. Likes do function as rewards. However, what we consume from these devices is meaningless in he end, attention is what matters. The more time we spend, the more valuable one becomes as every bit of information about us is absorbed.

Joachim Coucke works with installation and sculptures that investigate our broken relationship between the physical and digital realm. Developing a body of works that envision
a rather uneasy future, Coucke is raising attention to the aspect of ethical and moral debates
that arise from current technofied euphemisms. By using an ever lasting supply of outdated
computer hardware, his works unveil an anachronistic bizarreness which is usually unregarded in our not yet fully digitalizied and immaterial civilization. All that is fluid and ethereal, allowing information to flow, has indeed a phyiscal equivalent. When an algorithmized life tries more and more to detach sensation from one´s body, these accumulations of technological waste, seem unreal, but indeed are and ever growing.

As such, human-sized sculptures made out of networks, USB and power supply cables are
hanging from the ceiling – like ripe fruits from a tree, while another of these cable sculpture is lurking on the rooftop of MÉLANGE. They speak of entanglement and being lulled ̶ quite the opposite of liberation. Along these sculptures, plastic boxes containing technological still-lifes are on display, made of broken computer screens, but also more recent components. Instead of skulls, translucent plastic masks are used. As glass separates the viewer from the content, they allude to the idea of showcases but even more of shrines both of which seek to attract someones praise, and therefore their time. Praying for ones fortunes, one should be cautious about his or her wishes, as the machine´s will is programed to be efficient, in every possible way.

Heidegger was concerned with technology being meant to produce a reservoir of time, with the goal immunizing man against change. All of that collected data is saved to remember, to have everything at one’s disposal at any given time. Technology therefor, as stated by him, is used to liberate man from his physique, fate and accident. But when one’s life becomes quantified by the meaning of being literally calculable, one should be aware of what is to come.

Kindly supported by
STUDIO BOTANIC

JOACHIM COUCKE, born in 1983 in Kortrijk, is an Artist and Curator (Co-Founder of DASH), living in Waregem, Belgium. He gratuated HISK Laureate in Gent 2012. His work has been included in several solo and groupshows at Yoko Uhoda Gallery (2016, Liege), Johannes Vogt Gallery (2015, New York), CCA Ujazdowski Castle (2014, Warsaw) and many others.

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
Enlarge

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