Ausstellungsansicht Drama of Consensus (Documentation Series)
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas, Holzrahmen,
Akustikschaumstoff Whisper, Tonfiguren mit Wachsmalkreiden
120 x 60 x 3 cmDocumentation Series – Simon Speiser, Stuttgart 2014
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas, Holzrahmen,
Akustikschaumstoff Whisper, Tonfiguren mit Wachsmalkreiden
120 x 60 x 3 cm
Ausstellungsansicht Drama of Consensus (Documentation Series)
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas, Holzrahmen,
Akustikschaumstoff Whisper, Tonfiguren mit Wachsmalkreiden
120 x 60 x 3 cmDocumentation Series – Jumpei Shimada und Laurids Oder, PINA 2017
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas, Holzrahmen,
Akustikschaumstoff Whisper, Tonfiguren mit Wachsmalkreiden
120 x 60 x 3 cm
Documentation Series – Anja Kohlweiss, Valie Export Kubus 2021
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas,
Holzrahmen, Akustikschaumstoff Whisper, Tonfiguren mit Wachsmalkreiden
120 x 60 x 3 cm
Documentation Series – Elio J Carranza, New Jörg 2018
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas,
Holzrahmen, Akustikschaumstoff Whisper, Tonfiguren mit Wachsmalkreiden
120 x 60 x 3 cm
Tu Quoque, 2023
Vitrine „Filmmuseum FfM“ Stahlgestell, Plexiglas
100 x 100 x 100 cm
Documentation Series mit Tonfiguren und 6 Fotografien
Anastasia Jermolaewa, MQ 2021
Brishty Alam, Mirage III 2019
Fabio Santacroce, PINA 2018
Parastu Gharabaghi, Mirage II 2017
Philipp Friedrich, E++ 2017
Rebekka Rothenborg, Fig Garden 2021
17 x 12,5 cm
Drama of Consensus, 2023
1-Kanal Video, Installation mit LG-Projektor, Audiostativ, Stahlplatte (Spielbrett)
9 min 1 sec
Tu Quoque, 2023
Vitrine „Filmmuseum FfM“ Stahlgestell, Plexiglas
100 x 100 x 100 cm
Documentation Series mit Tonfiguren und 6 Fotografien
Anastasia Jermolaewa, MQ 2021
Brishty Alam, Mirage III 2019
Fabio Santacroce, PINA 2018
Parastu Gharabaghi, Mirage II 2017
Philipp Friedrich, E++ 2017
Rebekka Rothenborg, Fig Garden 2021
17 x 12,5 cm
Detailansichten: Tu Quoque, 2023
Documentation Series mit Tonfiguren und 6 Fotografien
Documentation Series – Robin R Waart, BMKOES 2018
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas, Holzrahmen
30 x 23,5 cm
A Poem, 2020
Text von Ania Shestakova
Pigmentdruck auf Papier
auf einem Stapel gesammelter Ausstellungstexte
21 x 29,7 cm
A conversation with Jennifer Gelardo & Beatrice Forchini
about the implications of exhibition documentation
In the frame of
Independent Space Index Festival 2023
The festival of project spaces in Vienna
Beatrice: (…)
The exhibition where we are now, has the title “Drama of Consensus” and we are
going to talk starting from one of the two main works that Jennifer is showing here
and then move on to the other piece, which is now not activated because it’s a
video piece that you can see afterwards.
So I would like to start from the series, the photographic series you’re showing,
the documentation series that you can see here next to us and then in the next
room. This is part of a selection of a larger series of photographs that you took
as an exhibition photographer for other artist’s exhibitions. So you present shots
that are actually meant to come to life as a record or as documentation, but then
making this kind of conceptual shift and showing themes part of your work and
your research on exhibition as a desired space.
I wanted to ask you how this came about and which position this has in your
practice of reflecting on how spaces are constructed and what is the kind of
investment in terms of desire, imagination, or experiences that artists produce
within their work.
Jennifer: (…) I think as an artist myself, before even taking on or doing the job as an
exhibition photographer, before taking this vocation on,I’ve also been staging
performances that question what it is, that we’re doing as artists and what is
this project,maybe as, in terms of the human animal, I like to say this since having
read Donna Haraway, to put things into a biological context; We as beings need
exhibitions maybe for some reason or another. And then this has been since
15 years now a question in my head and since 12 years I’m doing exhibition
photography, as a job to be able to support myself as an artist, living.
And I also like this thing of being immersed in the community with other artists.
So serving other artists with pictures that I can take of their work, doing this
over the course of 12 years made this question even more persistent: why are we
doing this, as artists? And why are people coming to see it, as viewers? What is
the desire behind it, is the question that came up. I hope this, I think this
would answer the question, right?
Beatrice: Yes.
Jennifer: Well, over the course of time, I came to look at these photographs as
windows into private lives or private imaginary spaces of these authors.
Something that people are sharing with us and that when you look at it as
an overview or as a comparison, something else happens. This shift is very
interesting to me.
Then last year I dared to share this overview that I acquired for myself, at an
exhibition at the Kunstverein Kärnten in Klagenfurth. But as my subjective
selection of images that I took over the years. So I wrote the artists, asking them
if it’s OK for me to choose a motif of their work, to share them in an exhibition
under my name.
Beatrice: Yeah, I like that in a way, this also kind of multiplies the possibilities,
also of your exhibition here, because of embedding traces that bring an echo of
other spaces. In a way, you involve a more, kind of multiple, sort of view, that
also has, in a way, maybe influenced your work of thinking about your own desired
space in your own exhibition spaces. So I like the idea of somehow tackling this
network that came about through a job that is not necessarily, or that you didn’t
think of initially, as your art practice – that of an exhibition photographer,
but then making it into almost like a personal study. So yeah, I like the idea
that there is an echo and there are traces that enter in this space.
And I also like the decision to show them for example in this form, encarved into
acoustic foam, which adds sort of another layer and makes them in a way more
distant but also maybe more sensual. Because when I see them, I can see that there
is something also very personal, that is not just documentation, but it becomes
somehow more atmospheric for me.
(…)
An excerpt from a conversation between Beatrice Forchini and Jennifer Gelardo.
On the Implications of Exhibition Documentation in the Framework of the Independent Space Index
Festival, Vienna, and the Exhibition “Drama of Consensus”, June 4th 2023
Freie Sammlung Wien Nr. 35
Tonfiguren mit Wachsmalkreiden
Dimension variabel
