Gotmarstraße 1
37073 Göttingen
Germany
Sarah Lehnerer: SOFT . STRANDS . CHICKS
January 22–February 26
In SOFT . STRANDS . CHICKS Sarah Lehnerer sorts the exhibition space by a “chapter logic” in an amalgamation of artistic extensions on theoretical reflections. Her interest lies in intermediate spaces, repetition and comments, which thrive within an overall (exhibition) narrative. In her installations, drawings, sculptures, frottages and collages, as well as music videos and texts, Lehnerer develops an idiosyncratic concept of actualization through selection and constellation, thereby purposefully carving out subjectification processes. Her very precise method opens up a frame of reference for topics such as (corporal) symptomatics and their embedment in diverse structures and systems.
Ariane Müller and Martin Ebner: Swiss Cheese Plant
April 2–May 28
Swiss Cheese Plant is the working title for a collaborative show of Berlin-based artists Ariane Müller and Martin Ebner. Starting from the plant by the same name, which has been a prominent artists model for centuries, the show deals with a-logical strategies and unexpected movements taken in the pursuit of sunspots in the jungle. The collaboration, on occasion of the exhibition in Göttingen, is based on their involvement in the artist-run magazine Starship and the art-production platform of the same name, that has resulted in several similar collaborative projects in the last years. The exhibition seeks to develop a narration using the video and sculpture-related practice of Martin Ebner, and the text-image approach of Ariane Müller.
Anna McCarthy: What Are People For?
June 18–July 30
What Are People For? is British artist Anna McCarthy’s first institutional solo-show in Germany. McCarthy’s artistic practice is defined by humor, a razor-sharp intellect and a comprehensive interest in sociopolitical topics, which she reacts to within a multimedial and interdisciplinary practice. Through drawing, painting, installation, music, video, performance and poetry she develops a distinct artistic language, which is playful as well as journalistic. McCarthy weaves personal stories, fictive narratives and an intuitive research approach into actual political, cultural, ecological and social changes of our time, resulting in a very own system of reference.
Berenice Güttler: Fitting
August 27–October 22
For Fitting Berenice Güttler focuses on the relationship between material and society, and seeks out identitie(s). Using drawing and textiles, she approaches these identities in reference to the social and societal, posing questions regarding political history or gender politics. Textile as artistic medium contains special attributes such as sewing, tailoring and drawing techniques, which enable her to work to the history and influence of textile work on art and daily life in order to develop work which creates statements about our world via structure, pattern, material and weaving techniques.
NO FUTURE Komplex: Foutue
October 20–December 17
Foutue leads NO FUTURE Komplex into a further episode within the echo chambers of contemporary art. Holding on, enduring is the ugly currency with which it is paid for. Happily defining themselves as a kind of loose linkage, NO FUTURE Komplex works with strategies of mutual friendship and acts contrary to networked “friending,” enabling a making of art that is meant to be playful and is meant to continuously develop via an ongoing exchange. Weary of the common formatting system, NO FUTURE Komplex want to, on the one hand, have their peace and quiet, and on the other, still also want to fight the contemporary demons. Do not want to become too private and also do not want to feign trust in the public. What? Do we already have connection problems? We will program you a new misunderstanding.
