Archive 2022 KubaParis

mimicry-empathy

Armin Alian, Diverted Poem, 2022, two part mural, print on wall paper

Annette Kelm, archival pigment prints, 2018, installation view

Alexandra Leykauf, Stick Men, 2021, installation view

Anika Schwarzlose, Tank, 2013, video, DV, 18:11 min.

Techniques of Redefining Boundaries, 2022, photographs, installation view

Berta Fischer, Garmion, 2020, acrylic glass, approx. 250 x 300 x 450 cm

Berta Fischer, Yraminion, 2022, acrylic glass, approx. 80 x 80 x 48 cm

BLESS, Curtain with a view, 2022, curatains for two windows, cotton, iron

BLESS, Curtain with a view, 2022, curatains for two windows, installation view

Caroline Achaintre, Igor, 2019, hand tufted wool 260 × 165 cm

Daniel Steegmann Mangrané Phasmides, 2012
, 16mm film transferred to HD video, color, mute 22:41 min. — Daniel Steegmann Mangrané Phasmides, 2012 , 16mm film transferred to HD video, color, mute 22:41 min.

Mimicry—Empathy, installation view (Alexandra Leykauf, Susanne Bürner, Berta Fischer)

Vera von Lehndorff, Holger Trülzsch, Hörzing Grotto. Performance 1971. photographs, diasec, each 100 x 100 cm

Jochen Lempert, gelatine silver prints, installation view

Susanne Bürner, Seide für V.B, A.P., B.D. und M.A., 2018, archival prints, framed 73 x 104 cm each

Sofia Hultén, Grey Area, 2001, DV video, 9 min.

Sonya Schönberger, LOSS, 2021, diptych, photographs, 50 x 60 cm and 23 x 32 cm, mirror, 23 x 32 cm

Ulla von Brandenburg, It Has a Golden Sun and an Elderly Grey Moon, 2016, super-16-mm film transferred to HD video, colour, sound, 22:25 min.

Wiktor Gutt / Waldemar Raniszewski, Expressions on a Face, 1981, photographs as slide show, video, 11:13 min., tribal music and TSA rock band

Location

Friche la Belle de Mai, Marseille

Date

10.03 –04.06.2022

Curator

Susanne Bürner

Photography

Subheadline

Taking biology as a starting point, the works in the exhibition explore mimetic processes that are based on the understanding of and the empathizing with a counterpart. They present techniques of assimilation to a given context; they address the hiding and disappearance of animals and humans; and they deceive our perception through trompe-l'œil. It is generally believed that these mechanisms of adaptation could be advantageous for the organism in question. However, in his essay Mimicry and Legendary Psychasthenia the sociologist Roger Caillois argues that contrary to popular belief, animals do not adapt to their environment for their own benefit, but rather out of a mythological desire to dissolve into the world. This relationship between the useful purpose of becoming another and the emancipation from that very purpose is put up for discussion in the works of the exhibition. After all, genuine empathy is only viable in the absence of purpose. The ability to make this distinction provides the key to developing one's own identity. The psychoanalyst Gohar Homayounpour states in Against Empath "ism": The keyword for genuine empathy lies within “separateness”, within the essential capacity to recognize difference. Otherwise, I am just getting to know you in order to prey upon you, so that I can eat you. For my insatiable narcissism needs to be fed over and over again. The works in the exhibition Mimicry—Empathy negotiate the formation of identities through experimental mimicry in various ways. Visitors are invited to discover images of their selves in the mirror of the exhibition. (Susanne Bürner, 2022) Produced by Fræme (Marseille) Curated by Susanne Bürner With: Caroline Achaintre (FR), Armin Alian (IR), BLESS (AT, DE), Ulla von Brandenburg (DE), Susanne Bürner (DE), Berta Fischer (DE), Wiktor Gutt / Waldemar Raniszewski (PL), Sofia Hultén (DE), Annette Kelm (DE), Jochen Lempert (DE), Alexandra Leykauf (DE), Sonya Schönberger (DE), Anika Schwarzlose (NL/DE), Daniel Steegmann Mangrané (ES/BR), Vera von Lehndorff / Holger Trülzsch (DE).

Text

Caroline Achaintre Igor, 2019, hand tufted wool 260 × 165 cm Armin Alian, Diverted Poem, 2022, 2 part mural, print on wall paper BLESS Curtain with a view, 2022, installation, curatains for two windows, cotton, iron Susanne Bürner Seide für V.B, A.P., B.D. und M.A., 2018, 5 framed photographs, 73 x 104 cm each Ulla von Brandenburg It Has a Golden Sun and an Elderly Grey Moon, 2016, super-16-mm film transferred to HD video, colour, sound, 22 min 25 sec. Berta Fischer Garmion, 2020, acrylic glass, approx. 250 x 300 x 450 cm (dimensions variable) Yraminion, 2022, acrylic glass, approx. 80 x 80 x 48 cm Wiktor Gutt / Waldemar Raniszewski Expressions on a Face, 1981, photographs as slide show, video, 11:13 min., tribal music and TSA rock band. Sofia Hultén Grey Area, 2001, DV video, 9 min. Annette Kelm Red Stripes 1, 2018 archival pigment print, framed 102.2 x 77.1 x 4 cm 500 Euro, 2018 archival pigment print, framed 77.1 x 58.2 x 4 cm Good Morning, 2018 archival pigment print, framed 77.1 x 58.4 x 4 cm Light Double, 2018 archival pigment print, two parts, framed each 52 x 40 x 4 cm Vera von Lehndorff, Holger Trülzsch Hörzing Grotto. Performance 1971. 3 photographs, diasec, each 100 x 100 cm Jochen Lempert 6 gelatine silver prints unframed: Untitled (Einfühlung), 2018, 30 x 24 cm Belladonna, 2013, 30 x 24 and 24 x 18 cm, diptych Gingko 2014, 47 x 39 cm Phasmides, 2013, 23,7 x 17,7 cm each, diptych Alexandra Leykauf Stick Men, 2021, 7 mirrors with black silk screen prints Braak Mann 200x60cm Braak Frau 195x55cm Dickes Bein 180x65cm Mund 195x70cm Possendorf 160x90cm Kind 140x50cm Boddenbjerg 110x60cm Sonya Schönberger LOSS, 2021, Diptych, 2 photographs, 50 x 60 cm and 23 x 32 cm, mirror, 23 x 32 cm Anika Schwarzlose Techniques of Redefining Boundaries, 2022, 18 photographs, 40 x 50 cm each Tank, 2013, video, DV, 18:11 min. Daniel Steegmann Mangrané Phasmides, 2012 16mm film transferred to HD video, color, mute 22’41” (projection size: 130x95 cm.)