Liesel Burisch

Bring Time

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Karin Salathé for Liesel Burisch: Double Aries / production still from Liesel Burisch: Never Stop, 2022.
Karin Salathé for Liesel Burisch: Double Aries / production still from Liesel Burisch: Never Stop, 2022.
Karin Salathé for Liesel Burisch: Fathoeburger / production still from Liesel Burisch: Never Stop, 2022.
Karin Salathé for Liesel Burisch: Fathoeburger / production still from Liesel Burisch: Never Stop, 2022.
Karin Salathé for Liesel Burisch: JUCK / production still from Liesel Burisch: Never Stop, 2022.
Karin Salathé for Liesel Burisch: JUCK / production still from Liesel Burisch: Never Stop, 2022.
Karin Salathé for Liesel Burisch: JUCK / production still from Liesel Burisch: Never Stop, 2022.
Karin Salathé for Liesel Burisch: JUCK / production still from Liesel Burisch: Never Stop, 2022.
Karin Salathé for Liesel Burisch: Fathoeburger & Don Jegosah / production still from Liesel Burisch: Never Stop, 2022.
Karin Salathé for Liesel Burisch: Fathoeburger & Don Jegosah / production still from Liesel Burisch: Never Stop, 2022.
Karin Salathé for Liesel Burisch: Fathoeburger & Don Jegosah / production still from Liesel Burisch: Never Stop, 2022.
Karin Salathé for Liesel Burisch: Fathoeburger & Don Jegosah / production still from Liesel Burisch: Never Stop, 2022.
Liesel Burisch: Never Stop, video still, 2022
Liesel Burisch: Never Stop, video still, 2022
Liesel Burisch: Never Stop, video still, 2022
Liesel Burisch: Never Stop, video still, 2022
Liesel Burisch: Bring Time, O – Overgaden, 2022. Installation view by Christian Brems
Liesel Burisch: Bring Time, O – Overgaden, 2022. Installation view by Christian Brems
Liesel Burisch: Bring Time, O – Overgaden, 2022. Installation view by Christian Brems
Liesel Burisch: Bring Time, O – Overgaden, 2022. Installation view by Christian Brems
Presented as large-scale video installations and attuned to the sound of a rhythmic techno beat, Liesel Burisch’s first institutional solo exhibition, Bring Time, investigates the perishability of the afterparty and its potential for celebrating fragile and temporary spaces, as well as the relationships and conversations that flourish in these moments. Riffing on the politics of queer nightlife, the central video piece Never Stop – shot in and around O—Overgaden, as well as at bars, clubs and private homes – alternates various party-related scenes that compile themselves in a cyclical form. Here we meet a group of performers who reveal to us moments from the intimate slowness of party preparations, the freedom and collectivity of dancing, and the deep conversations of the afterparty. Their movements and fragmented conversations blend with a hypnotic deep bass electronic score that fills the exhibition space built of scaffolding – a temporary construction, just like the pre- and afterparty. What’s left when the party ends? The transitions between night and everyday life create space for the release of deeper emotional connections and expanded notions of care. This is also addressed in Burisch’s zines that are displayed as a large poster wall in the exhibition, based on scientific writing, manifestos, and personal experiences. In them Burisch explores how transitory spaces surrounding the party itself hold the possibility for us to meet in free expression released from prejudices, expectations, and obligations. Liesel Burisch’s (b. 1987, DK) work often emerges from collective experiences, conversations, and intimate collaborations that create seductive and hypnotic spaces for dialogue. Burisch is a graduate from Städelschule (Frankfurt), Universität der Künste (Berlin), and California Institute of the Arts (Los Angeles). They live and work in Copenhagen and Berlin.

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