As Professor Renée Green returns from her semester as a Fellow at the American Academy in Berlin, ACT would like to highlight some of the projects she’s been involved with during the past months. Professor Green will be teaching Cinematic Migrations during the 2020 Spring Semester.
Title: Prelude
Format: Solo Exhibition
Location: Nagel Draxler Kabinett, Berlin
Dates: November 8, 2019-January 6, 2020
From the press release:
“Relations, Spacing, Americas : Veritas, Contact (A Participant)
2009, 2016, 2018, 2019
Brazil, Lisbon, New York, Cambridge, Mass., La Plata, Argentina, Berlin
Prelude
A roving consciousness sees a congealed Americas.
“What is at stake is not just the strangeness of displacement’s capacity to attract but also a more general unease regarding the very idea, the assumption of a body.” Fred Moten
Title: Love and Ethnography: The Colonial Dialectic of Sensitivity (after Hubert Fichte)
Format: Group Exhibition & Conference
Location: Haus der Kulturen der Welt, Berlin
Dates: October 18, 2019-January 6, 2020
Renée Green’s work in the exhibition: Contact (A Participant), 2019
Other artists in the exhibition: Ayrson Heráclito, Leonore Mau, Tiona Nekkia McClodden, Richard Avedon, James Van der Zee, Alvin Baltrop, Miguel Rio Branco, Isaac Julien, Musa Michelle Mattiuzzi, Kippenberger und Akim S. aus 44, and many others.
From the press release:
“Can the ethnographic gaze be “given back,” restituted? Within the context of ethnology and the aesthetic avant-garde of post-war West Germany, the exhibition examines Hubert Fichte’s writing and takes it as the starting point for new artistic works on questions of representation and restitution, dissolution of boundaries and canonization, and updating colonial power relations.”
Title: It’s Urgent: Part II
Format: Group Exhibition
Location: Luma Westbau, Zurich
Dates: August 31-November 15, 2019
Renée Green’s work in the exhibition: Moral Geometry?, 2019
Other artists in the exhibition: Yoko Ono, Hans Haacke, Trevor Paglen, Cao Fei, Tony Cokes, Eileen Myles, Tania Brugera, Olafur Eliasson, Jimmie Durham, Koo Jeong A, and many others.
From the press release:
“If there was ever a time when the world needed the radical ideas, visions and perspective on society of artists, it’s now – and it’s urgent.”
Title: Exodus. Paul Pfeiffer / Washington D.C.
Format: Group Exhibition
Location: Bortolami Gallery, Washington D.C.
Dates: 26 October 2019-29 January 2020
Renée Green’s work in the exhibition: Color/No Color, 1990
Other artists in the exhibition: Lutz Bacher, Cady Noland, Cameron Rowland, Wu Tsang, Arthur Jafa, Danh Vo, and others.
From the press release:
“Society today is a stadium, a circus, and a hall of mirrors. Everything can be turned into a widely distributed image, from the most prosaic customs and routines, to human and environmental tragedy, to political discourse, to intimate encounter. Violence nor pleasure are less real, but our state of war is mediated through images. If data-driven algorithms can interpret personal preference from clicks and eye movements, then customize a feed predicting our appetites as consumers, how then to discern free will from manufactured habit? If A.I. sets the ontological horizon beyond the limits of human perception, how can we be sure that the images we see are real and not a customized projection.”
Title: Familie Ties: The Schröeder Donation
Format: Group Exhibition
Location: Museum Ludwig, Cologne
Dates: July 13-September 29, 2019
Renée Green’s work in the exhibition: This Was Now Then, 1994, and Übertragen/Transfer, 1996
Other artists in the exhibition: Stephen Prina, Kai Althoff, Cosima von Bonin, Tom Burr, Isa Genzken, Dan Graham, Christian Philip Müller, Andrea Fraser and others.
From the press release:
“In the 1990s a new art scene began to form in Cologne. New galleries, magazines such as Texte zur Kunst, and the alternative exhibition space Friesenwall 120 were started. Alexander Schröder followed these developments from Berlin. Already as an art student at the Hochschule der Künste Berlin, he founded his own gallery along with Thilo Wermke. At the same time, he began collecting art from the 1990s and 2000s with his special eye […] Now the Schröder family has donated twenty-nine works from their collection, including large-scale installations, to the Museum Ludwig.”
Title: Hubert Fichte, Tour-isms, Negotiating in Contact Zones, and Contact
Format: Chap Book
Publishing information: Somerville, Mass.; Berlin: Free Agent Media, 2019
Note:The essay also appears in the exhibition catalog for the exhibition Love and Ethnography: The Colonial Dialectic of Sensitivity (after Hubert Fichte). Berlin: Sternberg Press, 2019.
Excerpt:
“I continue to trace the notebook pages. Even if I approach these with an imagined distance felt as being another, as if I’m reading what another wrote and drew. I also am still alive and linking particular words and marks together, to make the sort of sense I now attempt to articulate while invoking those I continue to be in conversation with, as I realize Fichte also did when he wrote.
There is a mixture of perceptions, heard, seen, felt, tasted and read, that emerges from this back-and-forth endeavor. Selecting continues to be key, as it always is when making anything. Distinguishing from confluence, yet not fighting what flows.”
Title: Hans Haacke on Earth: For Life
Format: Essay in Catalogue
Publishing information: Hans Haacke: All Connected. New York: New Musuem; London: Phaidon, 2019.
Note: Published on the occasion of Hans Haacke’s retrospective at the New Museum, New York.
Excerpt:
“Thinking about Hans now provides a moment of refuge. What does that mean?
Resonances and refuge.
Refuge can be thought of in terms safety or shelter, yet what I traced, internally repeating the word “refuge,” shifted as I thought further. I thought of “refugio,” as in a mountain hut—shelter from a storm. Maybe the wish was to enter a place where something you wanted to think about could be reflected upon rather than destroyed. Like Sylvia Wynter’s On Being Human as Praxis. A resonant refuge within which to be able to be consciously alive, with an exercising conscience that could be enacted in variable forms, with the wish to make contact.”
Title: Seekers Swimming Worlds
Format: Essay in Journal
Publishing information: OEI, no. 84–85, special issue, våtmarker & experiment, ed. Jonas (J) Magnusson and Cecilia Grönberg (2019)
Excerpt:
“I thought about how within this designated trajectory: Black Mountain College, Education, Formations, Models, North America, Germany, Bauhaus, led to also thinking about South America, Brazil, Ulm School, 1950s. AACM (Association for the Advancement of Creative Musicians) in Chicago. Experimenters. The right to aesthetic experimentation and life experimentation. (And then, Abounaddara’s wish for “the right to the image;” many translations in the global spheres of interest.) As well as influences of models of art formation that developed in relation to artists—some renowned, some not, to musicians, conductors, choreographers, dancers, architects and designers, filmmakers—continued.”
