Derivatives Affaires

Preview link: https://www.schleuse.biz/2025-09_Ken-Okiishi_Johannes-Porsch_Tanja-Widmann.html Ken Okiishi Johannes Porsch produced by Tanja Widmann Derivatives Affaires 05.09. – 27.09.2025 Schleuse Schelleingasse 26 1040 Vienna www.schleuse.biz -- List of works: Johannes Porsch Detail 1:1, 2025 After: Tanja Widmann Johannes Porsch produced by -1, One plus (Derivative), 2025 Pencil on paper (Standard White Economy) 29.7 × 21 cm Tanja Widmann Girlfriends (Tom), 2025 Inkjet print on paper (Steinbeis Nr. 3) 29.7 × 21 cm Tanja Widmann Johannes Porsch produced by Sample, 2025 Taken from: Tanja Widmann Johannes Porsch produced by -1, One plus (Derivative), 2025 Galvanized steel 8.3 × 1.5 × 1.7 cm Ken Okiishi Vital Behaviors, 2019 DCP. Color, sound. 64 min. -- Text by Inka Meißner: Derivatives Affaires The exhibition Derivatives Affaires produced by Tanja Widmann features four works: a drawing by Johannes Porsch (Detail 1:1), a film by Ken Okiishi (Vital Behaviors), an object by Tanja Widmann Johannes Porsch Produced by (Sample), and a print by Tanja Widmann (Girlfriends (Tom)). The recurring motif of produced by as a conceptual configuration and entry point to a study of production—of how the power dynamics of capital are abstracted and encoded in and through real actions between people, and the potential conflicts and pitfalls that emerge in the process—is shifted here in contrast to previous exhibitions and kept open as a procedure. In terms of motifs, Derivatives Affaires follows on from a conversation with Ken Okishii in Munich, the work SL (Girlfriends) Outline B-side (Product), 2025, which was shown at Schiefe Zähne in Berlin, and the exhibition -1, Plus One at Cell Project Space in London, for which the hole as an entry/exit point of systems and desires was perhaps too subtly placed. In this sense, produced by is not yet finished with the hole. Derivatives Affaires takes up again: sequences of doubling, libidinal replacements and returns, variations and alterations. It puts up for discussion in the interrelation of the elements: relations of control and withdrawal.[1] When the film begins, the other objects fade. The exhibition is conceived as a spatial and temporal montage and as a modulation and revision of works already shown. Production is immediate consumption and recording, recording and consumption directly determine production. Everything is so much production that recording immediately becomes consumption, consumption immediately becomes reproduction. What is shown is always production in wear and tear, degradation, base material. Economies of reproduction: speculative markets, derived values, business, or sex. By addressing, negating, duplicating, and subtracting all systems simultaneously, Derivatives Affaires enacts an indifferent, obsessively circling style. And a possible formalization of the code that corresponds to the operations of production, consumption, and circulation. A shifting structure that uses the blind spot of desire as a hole through which art can enter or leave the stage that every art space also is, without being recognized. Or, conversely, using art as a hole through which one’s own desire enters the stage unrecognized, like an affair. [1] https://www.cellprojects.org/exhibitions/tanja-widmann-johannes-porsch-produced -- Photos by repro-photo.net Courtesy of the artists and Schleuse, Vienna