Scotiabank - Nuit Blanche Toronto 2006, september 30.2006 Alekos Hofstetter/Holger Lippmann: computer animation - big projection at the fassade of the "crystal" liebeskind building

Curators: Fern Bayer, Peggy Gale & Chrysanne Stathacosm

Artists: Holger Lippmann & Alekos Hofstetter, Ron Benner, Jamelie Hassan, General Idea, Annette Mangaard & Ihor Holubizky, Kelly Mark, Fujiko Nakaya, Emily Pohl-Weary, Michael Snow, Andrew Zealley & Chrysanne Stathacos

www.livewithculture.ca
www.alekos-hofstetter.de
/www.holgerlippmann.de

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Alekos Hofstetter/Holger Lippmann:

163 King Street West (Urban Deconstructions), March - Sept 2006

Goethe-Institut, 163 King St. West, Toronto, Ontario, M5H 4C6, Canada

www.goethe.de
blankwww.alekos-hofstetter.de
/www.holgerlippmann.de

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WIR HABEN KEINE PROBLEME...,
u.a. mit Alekos Hofstetter, Alen Hebilovic, Antje Blumenstein, Lisa Junghanß, Markus Draper, Martin Damman, Rene Lück, Sophia Schama, Eva Maria Wilde, Thomas Scheibitz,
Backfabrik, Berlin, Juli 2006

Backfabrik, Saarbrücker Str. 36 - 38, 10405 Berlin

www.alekos-hofstetter.de

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BEWEGUNG NURR

Powdery Snow, 8.2. - 25.3. 2006
Galerie Christa Burger
Fürstenstr. 8, 80333 München

www.kunstmarkt.com
www.nurr.net

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Rhythmus der Statistik
11.3. - 31.3. 2006
Galerie Rachel haferkamp

Köln

www.rachelhaferkamp.com

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Rhythmus der Statistik
03.11.2005 - 04.01.2006
FLEISCH Karl-Marx-Allee 34 / Café Moskau D-410178 Berlin www.fleischzeigt.de

In cooperation with TENT., Rotterdam/NL the installation BLIND SPOT (marsch, marsch!) by the Berlin-Dresden artist group BEWEGUNG NURR (Alekos Hofstetter/Christian Steuer/Lokiev Stoof) will be presented. 144 p, german/english, colour, Revolver, Frankfurt/M. (2005) with contributions from Laura Schleussner, Peter Funken, Martin Behr, Torsten Birne, Peter Herbstreuth, Gerrit Gohlke, Marc Schweska, Richard Schütz, Rainer Bellenbaum and Daniel H. Wild

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19.08. - 2.09.2005
galerie baer I raum für aktuelle kunst
sebnitzer str. 55
d-01099 dresden
BEWEGUNG NURR
Christine Weber
Jay Stuckey



Baby Guard, 2003


SNAFU constructs the developmental history of pop culture. Behind this stands BEWEGUNG NURR's arbitrary claim to have discovered the cradle of pop culture. The Baby Guard picture shows a giant stone seal in place of the Sphinx. The baby seal watches over the source of pop culture – allegedly just discovered by BEWEGUNG NURR. Pop culture is always and everywhere, it works with diversifications and codes.

BEWEGUNG NURR claims to have found the keeper of this cultural development at the place of its origin. The original sculptural model for the project is a piece of soap in the shape of a baby seal purchased in a store of a drug store chain. An ensemble of three sculptures based on this baby seal was sculpted in the Dresden studio of BEWEGUNG NURR.

In Over the Clouds the three pyramids of Giza mutate into mountain summits high above the clouds. Now they grow from a sea of clouds. Pop art lives from elevation. A black and white documentary aesthetic occurs which proves where the stylistic device of elevation has its origins. The SNAFU work material originates in the popular imagery. Of course, within the elevation lies the disclosure of the deception, and BEWEGUNG NURR in ist work makes a clear statement about the mode of operation of the vertically organised art system. Taking the popular second world war army created diagnosis acronym – »Situation normal – all fucke up« (SNAFU) – which describes the communication chain from the private to the officer rank, the artists display how communications structures in the arts can work. Just like a difficult situation on the battlefront (all fucked up), where critical elements of the piece of news transmitted from officer class to army leadership are filtered out to the benefit of more positive elements until a normal situation arises (situation normal), a consensual principle is the foundation for success in the art system, which, as a rule not only smoothes out rough edges, but also means a selection process, according to what is conceived to be positive and what not in communication about art. The further one comes in the prestige pyramid, the more distorted becomes the communication, as that which holds trend relevance and therefore is well received by he decision makers and commentators of the art system, is freed of interfering trimmings and the information about the hipness of an artist and his work has to be reproduced and communicated. Even when the progressing alienation becomes apparent, the question as to the criteria for the fixing of trends and the increasing levelling of the original context of a work remains unanswered. Through the stylistic means of elevation, SNAFU refers to this process of self deception.

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