Gardar Eide Einarsson and Bjørn-Kowalski Hansen are among five artists whose works form the exhibition 'AND YET IT MOVES!' which seeks to address questions concerning the use of socially-related aesthetics.
This title, taken from one of artist John Heartfield's montages, is just one example of his use of language. Like all Heartfield's works, this title contains an energy that recalls the great potentials of his time, in art, science and politics, as well as the expectations that these potentials produced. In this exhibition John Heartfield is used as a reference to explore how the political motivation of the dada and surrealist movements relate to contemporary artists and identifying questions that this collision creates. In today's political climate how does the montage and satire tradition of the 20s and 30s appear to us? Are these contemporary artists just producing "melancholy", or are these works intended, as Heartfield's were, to form a basis for future "revolutionary activity"?
A work by John Heartfield is presented alongside contemporary artists Mark Titchner, Lisa Kirk, Gardar Eide Einarsson, and Bjørn-Kowalski Hansen. In the context of MOT, an artist-run exhibition space in East London housed in a building set up by the Greater London Council, the project will seek to address questions concerning the use of socially-related aesthetics, and play with the ubiquitous term "not for profit".
Mark Titchner's works link visually to workers' union banners of the 20s and 30s, with his slogans expressing a similar energy to that of Heartfield. Unlike Heartfield's work, Titchner's also contains ambiguous elements. His works refer simultaneously both to union banners and to contemporary corporate slogans. The visual elements in his works stand in sharp contrast to the work's empty and contradictory lines of text, for example "We Want Trust and Integrity". What immediately appears like a meaningful and direct statement soon proves to be emptied of specificity and direction. Yet, in spite of these apparent contradictions, the complexity and energy of Titchner's work prevent the slogans from becoming neutral or indifferent. It is clear that Titchner's work wants to tell something. Working out what that could be is the difficult bit.
Lisa Kirk's "Revolutionary" projects also comment on the existence of aesthetics that seem to use socially engaged thoughts. Her tongue-in-cheek projects focus on "revolutionary" ideas but also contain a convincing energy that insists on being "revolutionary". This urgency combined with entertaining elements, such as in the smelly "revolutionary fragrance" project, Kirk demystifies the idea of revolution, and suggests a new reading of radicality. Kirk also attempts to decode our bourgeois culture by using the language of advertising, and seek to reveal how "radical chic" is used as a propaganda tool for the market economy. Lisa Kirk will create a new montage-related work for this exhibition.
Playing with the notion of the failed avant-garde, and its powerlessness, Gardar Eide Einarsson's works also bring to mind socialist aesthetics. Half-burned and with graffiti-style texts, his posters look like they come directly from an anti-war, or anti-capitalist demonstration, but on closer inspection one can see that they have been meticulously fabricated to look like they have just seen some real action. Gardar Eide Einarsson's works use sparse and often bleak visual elements. He does not give us a colourful image of radical subcultures, but instead underlines the art world’s distance to these social worlds. For this exhibition Einarsson will present the video "Untitled (Chickens)".
As a contrast to the other artists in this exhibition Bjørn-Kowalski Hansen has a hands on approach to art making. Hansen relates to Heartfield's less known activist side. Heartfield wanted his works to be available to a wide public with a specific political purpose, he took part in founding the German Communist Party. But unlike Heartfield, Kowalski Hansen is not a member of any political party. Hansen makes socially aware businesses, as art projects, and he wants, with a reverse reading of the anti-globalization book "No Logo" by Naomi Klein, to create responsible and socially engaged business models that can create a notion of positivity. His economical experiments aim to be a negation of what can be seen as multi-national companies' lack of empathy and responsibility for local communities. Hansen works within the system of the market economy, and at the same time he is questioning and ironising over the same system. For this exhibition Hansen will present a new project.
All the artists in this exhibition use different ways to address the ineffectiveness of the avant-garde, and the role of socialist utopias. The selected artists form an overlapping area between "real" action-oriented interests, and pure aesthetic elements. One common factor of the artworks in this exhibition is that, in spite of their ironic and ambiguous elements, they still express urgency. The straight-forward, almost easy way these artists lay out the problem of the avant-garde does not only produce new "melancholies", but also suggests that the problem of the avant-garde is getting ready for a re-reading, or a new approach. The exhibition is curated by Hans Askheim.
AND YET IT MOVES!
12 August to 16 September
Private View Friday 11 August 18.00 - 21.00
Unit 54 Regent Studios
8 Andrews Rd
London E8 4QN