2019

THE OTHER IS ONESELF 
Reflections on an alternative model of society

Curator: Fiona Liewehr

Opening
Tuesday, 5 th November 7-9 pm
 
Duration
6th November till 14th December
 
Mon, Tue, Thur, Fri, 12 am – 5 pm
Wed, 12 am – 8 pm (and on appointment)
Free entry
See program beneath.

Franz Josefs Kai 3, 1010 Vienna Austria

www.toio.org

The initiative, The Other is Oneself, founded by artist Sébastien de Ganay, sees itself as a non-material, cognitive community for cultural exchange that addresses flight, expulsion, exile and the accompanying psychosocial consequences and changing identity constructions, in cooperation with artists, filmmakers, philosophers, scientists, Hilfswerk International - an austrian NGO, and society, by organizing an art exhibition and auction, film programme, publication, and an international conference.

'What is proper to a culture is not to be identical to itself', wrote Derrida in The Other Heading (1990). In his opinion there can be no cultural identity, self-identification or self-image without a cultivation of the other or, rather, the self as an other. Identity is constantly created in the charged interaction between differentiation and adaptation, personal and external perception, introspection and display. In Derrida’s view, we need all the differentiation offered by the identification of the other, the alien, in order for the self to even exist. It is only the reflection of the counterpart that I perceive as the other, or the alien, that enables me to complete the image of myself.

This idea provides the exhibition with its starting point. It is about finding community in dichotomy, respecting oneself and others, and acting with, rather than against, one another. It is about building bridges – in varietate concordia, united in diversity. The exhibition space at Franz Josefs Kai 3, which covers three levels and is around 600 square metres, plays host to a collective dialogue amongst works by twenty-six international artists from the Middle East, North Africa, the USA, South America, and Europe. The assembled media range from film and photography, installation and objects to paintings, text-based paper works, and drawings. Many of the artists featured in the exhibition have a migrant background and have been forced to flee their homeland at different times for different reasons including war, discrimination, political or religious persecution, and poverty. But even if the exhibition addresses subjects such as expulsion and exile, it focuses less on current struggles, armed conflicts, and the life-threatening act of escape than on the psychosocial consequences and cognitive dissonances that migration can trigger. Because feelings such as hope, fear, and insecurity affect people on both sides: those who have lost their homeland and families and whose dreams of a better world often founder on the threshold of Fortress Europe and those who find themselves faced with a multitude of traumatised refugees in their own homeland and whose emotional reaction can range from unconditional assistance to rejection and hatred.

The exhibition attempts a spatial choreography rather than a thematic structure. In the same way that fleeing people find themselves permanently on the move or in transitional spaces, the staging of the exhibition and dialogic relationship between the works is based on the idea of a journey, a passage that can equally begin at the front of the building or in the street behind. One is welcomed by Martin Walde's participative installation and the neon works of Franco-Turkish artist Nil Yalter, which reflect such socio-political subjects as labour migration, cultural identity, and gender roles, and one passes the photographic work of neo-conceptual artist Thomas Locher, who opens a dialogue regarding the inconsistency of the idealistic aspiration to universality of the Declaration of Human Rights, before one arrives at the central space of the exhibition which holds Syrian-born, Berlin-based artist Khaled Barakeh's installation symbolising the union of opposites, the act of approximation, and the place of meeting. The journey continues on the lower level with a poetic film by Argentinian artist Mirta Kupferminc, which deals with the loss of cultural identity, and ends with three landscapes by Austro-Iranian artist Ramesch Daha, landscapes imbued with a sense of longing and connected by a shared horizon. En route, the visitors encounter works that are as diverse, in form and content, as our identities. They stretch out a common network of associations that make it clear that the dignity, freedom and diversity of mankind is to be defended at all costs. Art may not be a direct determining factor in the socio-political arena; however, its strength lies in its ability to ask questions and address things in unconventional contexts. In such a way it can open up spiritual and non-material spaces in which it appears possible to arrive at a consensus about future coexistence.
 
participating artists:
Iris Andraschek, Babi Badalov, Khaled Barakeh, Elisabetta Benassi, Nisrine Boukhari, Bernhard Cella, Adriana Czernin, Ramesh Daha, Sébastien de Ganay, Raffaella della Olga, Sylvia Eckermann, Simone Fattal, Anna Jermolaewa, Mirta Kupferminc, Thomas Locher, Jonathan Monk, Klaus Mosettig, Rudolph Polanszky, Hans Schabus, Slavs&Tatars, Gerold Tagwerker, Florian Unterberger, Martin Walde, Lawrence Weiner, Nil Yalter and Samia Ziadi.
 
curator: Fiona Liewehr


PROGRAM
 
Curators Tour & Bookpresentation
Wed, 20th November, 6 pm
Franz Josefs Kai 3, 1010 Wien
Fiona Liewehr is guiding through the exhibition,
bookpresentation THE OTHER IS ONESELF
 
Auction
Friday, 22nd November, Dorotheum, Dorotheergasse 17, 1010 Wien, www.dorotheum.at 
Auction for Hilfswerk International for Syrian Refugees in Lebanon
www.hilfswerk.at
 
Film Programme
Saturdays, 3 pm, Stadtkino im Künstlerhaus
 
Sat., 9th November, 3 pm
Amar Chebib  - Wajd – Songs of Separation
Dokumentarfilm, CAN, 2018, Farbe, DCP,
OFeUT, 87 Min.
 
Sat., 16th November, 3 pm
Sara Fattahi - Chaos
Spielfilm, AT/SY/LB/QA, 2018, Farbe, DCP, OFdUT, 95 Min.
Im Anschluss an den Film:
Sara Fattahi im Gespräch mit Claudia Slanar (in englischer Sprache).
 
Sat., 23rd November, 3 pm
Alfoz Tanjour - A Memory in Khaki
Spieldokumentarfilm,, SY/QA/AT, 2016, Farbe, DCP, OFeUT, 108 Min.
Im Anschluss an den Film:
Alfoz Tajour im Gespräch mit Michelle Koch (in englischer Sprache).
Sat., 30th November, 3 pm
Ziad Kalthoum - Taste of Cement,
Dokumentarfilm,, DE/LB/SY/AE/QA, 2017, Farbe, DCP, OFeUT, 85 Min.
Stadtkino im Künstlerhaus
Akademiestraße 13, 1010 Wien,
www.stadtkinowien.at
 
Conference
Fri., 13rd December, 2 – 7 pm
Barbara Coudenhove-Kalergi (Journalist),
Samar Yazbek (Author), Isın Önol (Arthistorian, curator), Özge Ejder (Philosoph)
a.o
 
Sat., 14th December, 10.30 am – 4 pm
Lewis Johnson (Philosoph), Nil Yalter
(artist), Khaled Barakeh (artist), Ramesch Daha (Künstlerin), Fiona Liewehr (Arthistorian, curator) a.o
 
Programm-deutsch (pdf)

Program-english (pdf)

Images (72 MB)

Lawrence Weiner – ON BOARD THE SHIPS AT SEA ARE WE, 2018, Faber Castell Bleistift, Faber Castell Tusche auf gefaltetem Archivpapier, 54 x 69 cm
Lawrence Weiner – ON BOARD THE SHIPS AT SEA ARE WE, 2018, Faber Castell Bleistift, Faber Castell Tusche auf gefaltetem Archivpapier, 54 x 69 cm
Rudolf Polansky – RÖHREN SKULPTUR, 2011, diverse Materialien, Aluminium, Klebstoff, Plastik, Plexiglas, Stahl, 147 x 75 x 50 cm
Rudolf Polansky –
RÖHREN SKULPTUR, 2011, diverse Materialien, Aluminium, Klebstoff, Plastik, Plexiglas, Stahl, 147 x 75 x 50 cm
Jonathan Monk – The World in Safety Vests II, 2019, Stoffcollage, 144 x 244 cm
Jonathan Monk – The World in Safety Vests II, 2019, Stoffcollage, 144 x 244 cm
Sébastien de Ganay – Syrian Grid KOBANE, 2019, verzinkter Stahl, Lack, 180 x 270 x 16 cm
Sébastien de Ganay – Syrian Grid (KOBANE), 2019, verzinkter Stahl, Lack, 180 x 270 x 16 cm
Thomas Locher
Thomas Locher
Anna Jermolaewa – Found Object II, 2016 , Digitalprint, 119.5 x 80.5 cm
Anna Jermolaewa – Found Object II, 2016 , Digitalprint, 119.5 x 80.5 cm
Mirta Kupferminc – En Camino, 2001-2019, Print auf Hahnemühle Papier, Stift, 58 x 98 cm
Mirta Kupferminc – En Camino, 2001-2019, Print auf Hahnemühle Papier, Stift, 58 x 98 cm
Elisabetta Benassi – Mouchoir TERRA, 2019, Landkarte auf Seide, Plexiglas, 10 x 15 x 1.5 cm
Elisabetta Benassi – Mouchoir (TERRA), 2019, Landkarte auf Seide, Plexiglas, 10 x 15 x 1.5 cm
Hans Schabus – Ockergelb Ikarus, 2017, Aluminium, Eisen, 119 x 51 x 13 cm
Hans Schabus – Ockergelb (Ikarus), 2017, Aluminium, Eisen, 119 x 51 x 13 cm
Nil Yalter – EXILE IS A HARD JOB, 1976/2015, Digitalprint auf Textil, Neon, 276 x 335 cm Unikat
Nil Yalter – EXILE IS A HARD JOB, 1976/2015, Digitalprint auf Textil, Neon, 276 x 335 cm (Unikat)




 
FRANCIS RUYTER
“Hurricane / Time / Image”

Curated by Mohammad Salemy

11 April - 9 May 2019
Opening 10 April, 19-22h, Panel discussion at 17.30h followed by curator tour

FRANZ JOSEFS KAI 3: Franz Josefs Kai 3, 1010 Vienna Austria


The exhibition Hurricane/Time/Image reroutes a new line of understanding around Francis Ruyter’s painting practice by sandwiching his new works with a flash retrospective of his germinal work from the 1990s. Curated by Mohammad Salemy, it will consist of drawings, paintings and objects, dated from 1990–94 and 2015–19 as well as new display treatments including projections and reproductions of the archival source material. The project takes place at FRANZ JOSEFS KAI 3, an exhibition space programmed parallel to the Angewandte Innovation Lab, a program of the University of the Applied Arts in Vienna Austria.

Hurricane/Time/Image is meant to disrupt narratives of artistic, aesthetic and career developments as well as social conditions surrounding the production of art and subjectivity specific to Ruyter. It suggests that the chaotic force of technology is always at work throughout an artist’s oeuvre, rearranging the relationship of past, present and future into new constellations. Rather than using the recent works to make a new sense out of Ruyter’s earlier practice, it brings to light embedded concerns, themes and motifs which have been resonating in the artist’s practice since the early stages of his career.

The new works are derived from the Farm Security Administration/Office of War Information (FSA/OWI) digital archive at the Library of Congress with which Ruyter has been working to various effects since 2009, focusing in this body of work on photographs he has found using the search keyword