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Stars Europe – Save Europe II 10.8.–28.8.2005

Freie Klasse München

Images from the exhibition

Since the national uprisings in France and Holland against the political elites, the European Union has not only strayed into troubled waters but has also faced an identity crisis and subsequently has been pulled into a vacuum of visions. The propagated “pause for thought”, as well as the strategy of “keeping still until the next summit”, has been supported by influential politicians. However: What has to happen during this break, or: How do we wait? The Freie Klasse Munich shows prospects out of lacking prospects, shows how to keep one’s cool in times of waiting and how to kill time in a European way.

Large-scale paintings conjure up a European summit gazed upon by steadfast Europeans spooning up their star-garnished broth (Johannis Cafe Munich, Bar zum lustigen Boxer Marseille)! In a video work the once incredibly harmonic game of the political class, which became known under the title “You scratch my back and I’ll scratch yours”, has been revived and updated for a wider audience, whereby it’s not always just money that serves as a detergent. Nevertheless, efficient cleaning requires even more efficient drying: “Starmix” (European advanced technology) makes it possible. Is it pure coincidence that the Freie Klasse’s pictures related to this topic remind of Duerer’s “Praying Hands”, or is it praying in the end which remains our last chance? The Freie Klasse intends to give an answer to these and to other questions in the “Save Europe II” exhibition.

The title “Save Europe II” refers to an exhibition in the past which took place under the same title in the artists’ interim gallery in Munich in 1994. At that time, still under totally different conditions, they brought forward to the audience European-specific aspects. The from now on significantly changed mood makes the Freie Klasse react: Needless to say that rescue comes from Bavaria – as well as many other things lately!

Since the foundation of the Freie Klasse in 1997 the main focus has been set on artistic projects which break out of the art context and deal with everyday life, turning it into the material and into the place of their manifestations and objectivations. In their experiments the intended harmonisation of art and life is only an apparent one. By putting emphasis on the term “as if”, the results remain artificial counter-worlds, otherwise they hardly would be a topic in an artistic context. The exhibition in a gallery a priori focuses on art. For this reason the Freie Klasse doesn’t want to do without large scale paintings. They set the tone and outline the topic. Objects, video works and photographs complete the show and provide small additional aspects.

“Save Europe II” in Vasa is a sorrowful and ambitious exhibition which makes clear that in Europe there is a correlation, a consensus, a conjunction, a coalition, a complication, a conflict between art, pub and crisis. Forsooth!

FREIE KLASSE was founded in 1987 as an artistic critique towards the academic education and consists of Wolfgang Groh, Hermann Hiller, Ralf Homann, Wilhelm Koch and Gottfried Weber. FREIE KLASSE is an artist group that in a special way maintains collective and team-oriented productions, without the influence of the individual artists’ own works. It reflects on collective projects that appeared by the end of the 20th century, and the beginning of the 21st, but also on popcultural influences within the visual arts.

Freie Klasse München


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Lawnmover meeting 11.8.2005

A collaboration between Willem Koch, Freie Klasse and Platform

 

 

Images from the exhibition

A collaboration between Willem Koch, Freie Klasse and Platform.
Choreography by Wilhelm Koch.
Thursday 11.8.2005 at 19:00, outside of Platform.

A symbolic gesture against ‘the spirit of allotment gardening’ and a gathering of landscape architectonical and -nursing motorising phenomena.

Equipment: the participants will bring their own motorised tools, any kind available from handheld ones to tractors.

For every lawnmover meeting an individual parcour is set up. During previous meetings simple choreographies were performed in the green areas that were allotted for the specific purpose.

There are no winners nor loosers, only participants.

See also the tv-broadcasting of ‘Quer’
Bayerischer Rundfunk, 2000

 

 

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Platform>ance 11.6.2005

A perfomance event where both Finnish and Japanese artists participated, dealing with themes of intimacy and femininity. The artists were Leena Kela, Tanja Koistila, Jaana Pirskanen, Tiina Tietäväinen, Tari Ito, Fumiko Takahashi, Nonko Ono and Yoko Yamamoto.

The event is a collaboration with Là-Bas, an initative based in Helsinki. It has worked as a platform for performance and other experimental art since 2000. Là-bas evenings are regularly held at the Cable factory in Helsinki, but do events also in Berlin, Turku and Vaasa.

 

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The Island 20.5.–5.6.2005

Johanna Torkkola

Johanna Torkkola was an artist-in-residence at Neon, a tv-programme produced by the FST, where she was given the possiblity to do a production with a professional tv-team.

 

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Stockholm Art Fair 6.4.-10.4.2005

VAASA SPORT E-93 BUFFALO

A 3D animation and presentation of the hockey players in Vaasa junior ice hockey team. A DVD by Kristian Simolin (FIN) was produced in co-operation with Platform and Vaasa Sport.

 

DUNE

A container of sand from Namibia to the beach of Sandön in Vaasa, Finland. A project by Matti Braun (D) in co-operation with Platform.

 

 

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The Cut 16.4.–15.5.2005

TEA – Jon Biddulph, Peter Hatton, Lynn Pilling, Val Murray

 

 

The Cut is a recording of a boat journey on the Leeds and Liverpool canal in the U.K. The canal was once the main transport link between the towns during the early industrialisation period. This is a record of the urban and rural areas that the canal passes through, it is an investigation of its context. Video cameras were set up back to back on the boat pointing towards the bank recording all 35 miles of the 3-day journey.

It is presented in the Gallery on two screens; the audience sit where the boat had been. The synchronised videos of both banks of the canal are projected onto the two screens. The landscape, both urban and rural, passes slowly on the screens at the speed the boat travelled. The edited journey takes six hours. Whenever the video shows the underside of a bridge, a spoken commentary begins accompanying the viewer along the next section of the recorded journey. Welcome to the opening 15.04.05 at 19:00. Artist2Artist; the artists will present their work at 18:00.

TEA is a group of four artists who have worked together on projects since 1987. TEA’s work is process-based, site-related, interdisciplinary and contextual. Outcomes have been large scale sculptural installations, published books, video installations and audio installations. Recent work has been an investigation of place and the representation of its multiple identities.

 

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Pay per view 20.2.–20.3.2005

Jani Leinonen

 

Pay-per-View is an installation that was Jani Leinonen’s final work from the Art Academy in Helsinki and that has been on display in several places, for instance in Plus Ultra Gallery in New York in 2002.

The installation consists of paintings that have been framed by a special frame with in-built slot machinery and a liquid-crystal frame glass. In a normal state the glass is opaque, enabling the visitor to see the painting. The paintings are each made of artists selected by Platform and Jani Leinonen; the artists include Fritz Jakobsson, Juha Tammenpää and Sami Lukkarinen, to name a few.
The artists’ names are carved on a copper plate within the frame. When the viewer sets a coin in the slot at the side of the frame, the glass turns transparent revealing the hidden painting for fifteen seconds. The different paintings have different prices determined by the artist’s position in the art field.

In the beginning of one show, fifteen seconds of Gerhard Richter cost 2 euros, while street artist Kalevi Tulla cost only 20 cents. Once viewers start using the works, the prices start following the laws of supply and demand: The more often the price is paid, the higher it gets and vice versa.

Jani Leinonen

 

 

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8-hour standing 20.11.2004

John Court

At the start of the performance I will pull a pair of trousers out from a can of 9L white emulsion paint and put them on, pour the rest of the 9L paint in the middle of a wooden platform then I will stand “motionless” on the platform for the eight hours.

In this work, the eight hours focuses on the 8-hour working day, referencing both the work ethic and more mundane everyday chores. It was first performed in Rovaniemi hight street on 30.6.2004.

John Court

John Court graduated from two art schools in the UK; Camberwell school of Art and Design 1994 and Norwich school of Art and Design BA Honours Fine Art Sculpture 1997.

John has been using his body in his performance works since 1996. He began making eight-hour performances based around the eight-hour working day in 1999. His performances often involve additional materials, for example pencil shavings, rubbed pencil erasers, masking tape, paint, pencil leads etc.

Some examples of these eight-hour works include walking 230 meters in 8 hours on the world’s northernmost railway (Kirkenes, Norway), rolling on the high street for 8 hours, or standing up motionless in a limited space for 8 hours. John has performed over 150 hours of these eight-hour performances.

 

 

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Mixed Tape 1.10.-31.10.2004

Ryan Stec

“Mixed Tape” is the result of a curatorial/artist residency I undertook in Vaasa, Finland at Platform Gallery and Artist Association. During this time I spent extensive time doing research at both of the Finnish Av-Arkki and Swedish FilmForm video art distributors, visiting as many artist-run and contemporary spaces as I could, and meeting with artists from around Finland and Sweden.

The performance/exhibition that resulted was a unique video art presentation where, as a curator and technician, I played a mediating role in the viewers’ experience, and fused a contemporary VJ performance (during the opening) with a traditional screening for the exhibition period. This project was a continuation of my interest in the concept of plurality of perspectives and viewing experiences, and challenges the notion of a work of art being finite and complete. Instead Mixed Tape presented the idea that works of art are evolving and changing contstantly. This presentation also pushed the boundaries of a curators role by beyond simply recontextualizing the video works and fusing them with each other to create a exhibition which was quite different from the sum of its individual works.

Ryan Stec

Ryan Stec is a Canadian artist based in Ottawa and was the first artist-in-residence at Platform in September 2004.

 

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Waldlust 22.8.2004

Lasse-Marc Riek & Tobias Schmitt

Platform invited the visiting artists of the Nelimarkka museum residency program Lasse-Marc Riek (D) and Tobias Schmitt (D) to present their sound work.

 

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