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Stéphane Bauer |
| Zorka Lednarova | |
| Caroline Lund | |
| Doreen Mende | |
| Shaheen Merali | |
| Christoph Tannert |
Images
| Doreen Mende |
Doreen Mende is a free curator. She studied the piano in Leipzig and Helsinki, finishing her diploma in 2000. She mediated for several projects at Halle 14/Leipzig, Postmasters Gallery/New York, 3d Berlin Biennale for Contemporary Art and Documenta 11. From 2004-05 she was a scientific assistant for Shrinking Cities. Now she works as a curator for JET/Berlin, Kunsthalle Exnergasse/Wien, and for Project Outliners. She has been writing for Neue Review and Texte zur Kunst and is a founding member of General Public.
| 1 | Mario Asef | Refound Landscape Intervall>c | Audio works on CD with headphones |
| 2 | Borga Kantürk | KUTU v.4, 2004 Borga Kantürk : As an Artist as a Curator As a Curator As an Artist with Evrim Yigit (Architekt), Ali Bati (Grafikdesign) artists: KUTU v.4: Ali Bati, Gokcen Cabadan, Elmas Deniz, Murat Gunes, Borga Kantürk |
transportable Room and exhibition project, since 2002 |
| 3 | Levent Kunt | Poesies Kaugummi-automat Markierungen Romantische Parazieten |
documantation of works in public area in Mainz, Gars am Kamp und Frankfurt a.M., zwischen 2002 und 2005 |
Exhibition concept:
Outliners creates an unusual situation for curators, artists, and visitors. Banishing the presented works from the exhibition space and substituting graphic references for them, fundamental questions about the parameters of how to show art and about the roles of everyone involved have to be reformulated. The curators, invited by an artist, are presented as artists. The space becomes a container for documentation and references. Artworks become material, raw material that is being recycled. The spectators finally become curators, compelled to study the artists´ portfolios and to get into the works by themselves – giving up their passive role in order to follow the show.
Presenting artwork means to produce space. By losing its physical presence, the sketchy outline of an artwork points to its existence outside the exhibition space. A mental, conceptual headspace is created. A way in thought leads from the marked spot to the archive and is mirrored back into the exhibition space. The ´s specialty is its emphasis on artists from Turkey, thereby including a process of mapping out cultural interspaces. The curator´s role is limited, and, as long as the artwork doesn´t demand otherwise, more or less that of an editor in the sense of Robert Storr. Starting from the existing material, the content of the artwork is paramount. The curatorial process is best when invisible.
The works chosen from the are united by their capacity to carry the process of transfer one step further. Refusing to be represented in a reduced way, they challenge the limitations of institutional boundaries. Mario Asef´s, Borga Kantürk´s, and Levent Kunt´s works exist either invisibly, temporarily, in public space or as a performance. It is not possible to define them in terms of borders. They are placed in the context of the exhibition by means of standard sizes such as DIN A3 and DIN A2, or of the floor plan of a project for an exhibition space that has been adapted to the present space. (KUTU v.4 by Borga Kantürk et al.).
The project KUTU consists of four parts. Initiated in 2002 and since then continued by Borga Kantürk, it gives instructions on how to build a transportable, invisible exhibition space. Conceived by Kantürk as a conceptual space of action, it can be used as a place of artistic production and presentation, according to place and necessity. KUTU v.4 (2004) has been chosen for Outliners and in its capacity as a re-buildable exhibition space, it outlines a space inside a space. What could its content in the Outliners´ exhibition space at arttransponder look like?
It is in the nature of audioworks that they cannot be perceived by sight. In the context of Outliners, the choice of audioworks by Mario Asef seems logical, as works such as Intervall >c and Refound Landscape acoustically map out and document urban landscapes. On the one hand, their audibility as well as their contents refer to the surrounding outer space, on the other hand their non-representable quality allows for a formally abstracted presentation without missing out on the contents.
The works Poiesis (peas), Chewing-gum Machine and Markings by Levent Kunt take place in urban space and can happen again anytime in another place. Choosing DIN A3-sized paper sheets as substitutes for the artworks means to fall back on a current, unworked standard-size paper, which, in its multifunctional capacity, could be used for documentation. This is to underline that non-object-works have to rely on documentation – and thereby are subordinate to (re-)presentational forms.
