{"id":1413,"date":"2021-06-23T19:50:27","date_gmt":"2021-06-23T18:50:27","guid":{"rendered":"https:\/\/theoctopusprogramme.uni-ak.ac.at\/?page_id=1413"},"modified":"2021-07-02T10:42:49","modified_gmt":"2021-07-02T09:42:49","slug":"the-play-exhibition","status":"publish","type":"page","link":"https:\/\/theoctopusprogramme.uni-ak.ac.at\/index.php\/the-play-exhibition\/","title":{"rendered":"PLAY \/\/ ANGEWANDTE FESTIVAL 2021"},"content":{"rendered":"\n

Play is the mediator of the invisible and visible.<\/em><\/strong><\/p>\n\n\n\n

Dora M. Kalff <\/p>\n\n\n\n

The Octopus Programme <\/strong>presents an exhibition, a screening programme, a library project, a publication, and an online public programme for the Angewandte Festival.<\/p>\n\n\n\n

Play<\/strong> gives hints about the artists\u2019 research and works that have been developed within the structure of the Octopus Programme. Taking the research and process-based aspects into consideration, the presentation modes are selected and applied systematically through a logic of a play in the exhibition. This curatorial approach processes  boundaries and dialogues among the works by underlining the diversities that shape these relationships.<\/p>\n\n\n\n

In the same vein, the exhibition takes place in a spacious seminar room in the renovated building of the University of Applied Arts Vienna at Vordere Zollamtsstra\u00dfe 7. The usage of the colours on the pedestals and other graphic elements constitutes alternative routes for viewing the works. The exhibition space uses natural daylight\u00ad\u2014filtered by dark blue colour\u2014from the windows. This play with colours underscores a suggestive perception of the room as an \u201cexhibition space\u201d. Hence, the exhibition design allows for diverse and overlapping concepts and forms to be experienced by generating a flow and connection amongst the works. The venue is choreographed to inhabit both correlated and contradictory visual languages. Correspondingly, the element of improvisation is taken as a creative act during the instalment phase of the exhibition.<\/p>\n\n\n\n

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Download the Publication<\/a><\/figcaption><\/figure>\n\n\n\n

The Play <\/strong>exhibition gives special emphasis to the pilot phase participants; the spatial relations in the exhibition space open onto a network beyond their context.<\/p>\n\n\n\n

The exhibition and the screening programme feature research-based works by Alina Rentsch<\/strong> (Germany\/Sweden), Beng\u00fc Karaduman<\/strong> (Turkey), Bochra Taboubi <\/strong>(Tunisia), Els van Houtert<\/strong> (The Netherlands\/Austria), F\u00e9rielle Doulain Zouari <\/strong>(France\/Tunisia), Jannis Neumann<\/strong> (Germany\/Austria), Julia Stern <\/strong>(Austria), Kim M. Reynolds<\/strong> (USA\/South Africa) Maarit Mustonen <\/strong>(Finland), Marwa Manai<\/strong> (Tunisia), Nondumiso Lwazi Msimanga<\/strong> (South Africa), Noor Abed<\/strong> (Palestine), Sofia Priftis<\/strong> (Sweden), Sophia Bellouhassi<\/strong> (Germany\/Austria) and Younes Ben Slimane<\/strong> (Tunisia). The exhibition will also host Anna Sanglhuber, David Heinzl, Helene Eisl, Nargol Ghararshir<\/strong>, and Pascale Ballieul <\/strong>from the Institute of Art Sciences and Art Education of the University of Applied Arts Vienna.\u00a0<\/p>\n\n\n\n

THE PUBLIC PROGRAMME<\/strong><\/h5>\n\n\n\n

<\/p>\n\n\n\n

Chapter I: Guest Statements<\/strong><\/p>\n\n\n\n

Guest Statements\u2014 Visual statements by Giovanni Aloi, Egle Oddo, Benji Boyadgian, and AnneMarie Maes. To Think Like a Mountain (2021) by Giovanni Aloi is a creative response to Aldo Leopold\u2019s 1949 \u2018A Sand County Almanac\u2019 commissioned by \u2018Nature Art and Habitat\u2019, an Eco-laboratory of Multidisciplinary Practices that looks at the relationship between nature and culture. Performative Habitats (2020) by Egle Oddo merges biology, botany, and natural sciences with the varied languages of artistic disciplines. At a historical moment that sees climate change among our primary emergencies, the artist aims to convert everyday practices and establish new production methods that are sustainable for the environment. Still Waters (2017) by Benji Boyadgain proposes a walk along the hypothetical route of an ancient aqueduct that fell out of use about 14 centuries ago. From south Bethlehem to the old city of Jerusalem, two obsolete pools mark the beginning and the end of this passage that flows through the fragmented conurbation of Jerusalem. For a few centuries this infrastructure supplied water to Jerusalem, and the city continued its course. Jerusalem, an insatiable city, a city growing off its ancient water systems, off its ground, a fiction that is its own reflection. AnneMarie Maes explains her project, L\u2019origine du Monde (2019) as a strongly enlarged bacterial chain made from glass cells. Every cell is filled with cyanobacteria producing realtime photosynthesis. It was created during a STARTS residency at the Hybrid Forms Laboratorium in Amsterdam.<\/p>\n\n\n\n

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