Nilbar Güreş, Balance Board, Girl`s Parallel Bar and Pommel Horse (from the series unknown sports), 2009
Nilbar Güres is exhibiting as part of AFTERGLOW at Yokohama Triennale 2020 curated by Raqs Media Collective.
In the series ‘Unknown Sports’ women assemble in a gymnasium. However, rather than undertaking normal exercises, they adorn the equipment with household items, and integrate these into their exercises. The positions and movements relate to housework, fashion, beauty and body care. In the rituals performed in these « unknown sports » the women make the patriarchal private realm public, wittily subverting the roles imposed on them by society.
The numerous site suggestions and plans for festival theatres discussed during the past 130 years demonstrate the major importance which has always been accorded to the building of such a festival theatre.
The historical Festspielhaus projects reflect both the visions of individual persons and the differing expectations of their times and societies. The four festival theatre designs selected for this project – beginning with that of 1890 – refer to outstanding locations on the city’s mountains (Mönchsberg and Kapuzinerberg) or elevations (Hellbrunn, Rosenhügel in Mirabellgarten), but treat these contexts in very different manners.
The starting point for the intervention of Werner Feiersinger is the historical plaster model for a festival theater by architect Otto Reitter from 1942. The model is very small in relation to the space of the table. This reverses the intended, monumental conception by Otto Reitter, who wanted to put an oversized [...]
The exhibitionTime Presentwith works from the Deutsche Bank Collection at the PalaisPopulaire, is devoted to international photography from the 1970s to the present. The show examines how artists deal with time and the basic questions of photography: What different levels of reality and time does a photograph capture? Does it actually depict a certain moment? Is what is seen in a photograph present or past, reality or imagination? Time Present documents how photography has expanded as a critical medium since the 1960s in conjunction with performance, film, conceptual art, media theory, and politics. At the same time, there are repeated references to painting and art history. The link between time and contemporary events provides the framework for examining the history of the Deutsche Bank Collection from various perspectives.