19 March 2018

DAVID OSTROWSKI & MICHAIL PIRGELIS

01-David-Ostrowski-Michail-Pirgelis-Nothing-Happened-Buchhandlung-Walther-Koenig
David Ostrowski & Michail Pirgelis, Nothing Happened, Buchhandlung Walther König, 2016

The artists David Ostrowski and Michail Pirgelis met 2003 while studying at the Kunstakademie Düsseldorf and became close friends. Both based in Cologne, they have exhibited together several times, jointly initiated the MD Bar in Cologne and are each other's most honest critics. On the occasion of their exhibition "To Lose" at Leopold-Hoesch-Museum, Düren in 2016, they transcribed an intimate conversation about their friendship, their art, their obsessions and their dreams. We're happy to be publishing this dialogue on artfridge [only available in german].

3 March 2018

INTERVIEW: IŞIL EĞRIKAVUK

1-IsilEgrikavuk Işıl Eğrikavuk "Vilem Flusser and I," portrait, Berlin, 2018


Mine Kaplangı: Işıl, you are an artist, writer, researcher, scholar and – perhaps the core of all other aspects – a community builder.  Most of your works underline the importance of collective production as creating an opportunity for artists from many different fields to work together. Considering this side of your art practice what do you think about today's concepts like “art”, “artist” and “artwork” among the fields of your interests and research? Do you think that future will blur the boundaries between those terms and concepts?

31 January 2018

INTERVIEW: INA NEDDERMEYER & DOMINIK BUSCH

Salome Asega & Reese Donohue & Tongkwai Lulin, ASM(V)R, 2017, VR still © and courtesy the artists_4 "ASM(V)R", 2017 © Salome Asega & Reese Donohue & Tongkwai Lulin, courtesy the artists

Exploring the relationship between Virtual Reality and contemporary art, the exhibition “Beautiful New Worlds” at the Zeppelin Museum presents 11 artistic positions and their handling of the digital medium, including Forensic Architecture, Harun Farocki and Halil Altindere. Curated by Ina Neddermeyer and curatorial assistant Dominik Busch, it emphasises both the advantages and the critical downsides of VR-technique's potential – exploring the consequences it might cause in our future lives, in our notion of reality and in the production and perception of art. It addresses different formats of narration and the effects VR-techniques might have on the socio-political dimension and its reflection. Set in the green surroundings of Friedrichshafen in the south of Germany, right at the shores of Lake Constance, the exhibition could hardly cause more contradiction to its harmonious geographical setting. In our interview the curators Ina and Dominik explained what led them to initiate this exhibition and why they think this subject is currently so relevant.

17 January 2018

INTERVIEW: SANNA MOORE

© Indrė Šerpytytė Courtesy Parafin, London© Indrė Šerpytytė "03" from the series 150mph (2015)

Sanna Moore, curator for contemporary art at the Imperial War Museum in London, on the exhibition "Age of Terror: Art after 9/11", on strategies of representing war and terror through art, and on how contemporary art fits into the structures of a war museum.