Installation views: Whisper Down the Lane with Fritz Lehmann, Kunsthaus Hamburg 2024, Photos: Antje Sauer
Whisper Down the Lane with Fritz Lehmann
4.7.–29.9.2024
Kunsthausfoyer
Free admission
In the experimental and communicative exhibition format Whisper Down the Lane, the roles and functions of hosting and being hosted become fluid. In line with the eponymous children’s game in which information is passed on in a whisper, the exhibiting artists themselves choose the next person. Whisper Down the Lane is a process-orientated project in which the Kunsthaus transfers part of the curatorial responsibility to the artists themselves, with the aim of creating alternative institutional modes of access and rendering local network structures visible both in terms of personal ties and with regard to artistic approaches.
As the second artist in the series, Fritz Lehman—invited by Jaewon Kim—has assembled works from his new series Deconstructed Functions (2024) into a site-specific installation. The sculptures, consisting of 3D-printed plastic parts and conventional aluminum tubes, are attached to the walls with click brackets.The materials and forms are reminiscent of industrially manufactured daily life objects but, on closer inspection, the structures are devoid of any functionality. All the wall sculptures are variants of the same object but their specific arrangement allow for a wide range of associations—from ladders to objects used in medical technology to substructures for neon signs. In the foyer as a place of transition, the work provokes reflections on the boundaries of function and nonfunction, object and symbol.
Fritz Lehmann (*1983, Starnberg, GER) studied sculpture at the University of Fine Arts Hamburg after training as a screen printer and graphic artist. His artistic works have been shown at Galerie Kai Erdmann, Berlin (2024); ICAT, Hamburg (2022); a&o Kunsthalle, Leipzig (2022); R52L, Berlin (2022) and ATP Gallery, London (2022), among others. He lives and works in Hamburg.
Thursday, 4.7.2024, 6–10 pm Opening in the context of Panorama IV
Image 1, 4, 6, 8, 10: Installation view: Lila-Zoé Krauß – [After her Destruction], Kunsthaus Hamburg 2024, Photo: Antje Sauer
Image 2, 3, 5, 7, 9: Lila-Zoé Krauß, [After her Destruction], Video still, 2023, DOP: Helena Wittmann
Lila-Zoé Krauß [After her Destruction]
25.5.–28.7.2024
Please note: On Saturday, 27 July, a listening workshop and performances will take place at the Kunsthaus from 3 pm (participation is free, no registration needed). Due to the special programme, the exhibition will only run until 3 pm on this day. On the last day of the exhibition, Sunday 28 July, the exhibition will be open again regularly from 11 am to 6 pm.
Lila-Zoé Krauß (*1994, Alice Springs, AUS) is a multimedia artist, performer and musician known as L Twills. In her work, she uses sound as a starting point for storytelling. Her multimedia productions deal with the relationship between perception, the body and technology. The artist examines the construction of normativity in capitalist societies and its effects on mental health.
For her first institutional solo exhibition Lila-Zoé Krauß transforms the hall of the Kunsthaus into an immersive stage of sound, light and image. In her new science fiction music and opera project [After her Destruction], she questions conventional value systems and perceptions of reality and negotiates notions of otherness, femininity and subjectivity. The narrative centres on the protagonist Girl. With the aid of the computer programme The Art of Mind, which merge digital, analogue and Girl’s dream worlds, she embarks on a journey through her mind. In search of a lost memory, Girl gets caught up in a maelstrom of imagination, dissolution of boundaries and emancipation. On the musical level, the artist combines electro-acoustic sounds and expressive vocals to create dense avant-pop compositions.
Lila-Zoé Krauß (*1994, Alice Springs, AUS) studied Fine Arts at the HFBK Hamburg and at CalArts Los Angeles as well as Sound Studies at the UdK Berlin. Her audiovisual works have been shown at the Popkultur Festival, Berlin (2023); Documenta Fifteen, Kassel (2022); Kvaka Art Space, Belgrade (2022); Import Export, Munich (2022); Montez-Press-Radio, New York City (2019); HKW, Berlin (2019) and Kampnagel Sommerfestival, Hamburg (2018). She lives and works in Vienna.
Participants Art direction, production (video, music, sound design, set, costumes): Lila-Zoé Krauß; DOP, co-direction: Helena Wittmann; Cast: Suma Abdelsamie, Anto López Espinosa, Don Jegosah, Luïza Luz, Rebecca de Toro, Haiqing Wang (Choir of Mutants); Lila-Zoé Krauß (Girl); Christin Krauß (MOW), Ophelia Young (Superego), Elliot Reed (Fortune Teller), Linda Elsner (Mysterious Lady Without Name), Sibylle Peters (Lady’s Lover), Lex Schnäbele (Monster); Dramaturgy: Julia Jost; Set production: Ricarda Johanna Schwarz; Hair & make-up: Maike Albeck; Light: Suzanne Caroline de Carrasco, Julian Gillman, Lars Rubarth; Sound recording: Nikoloz Mamatsashvili; VFX & colour grading: Jacopo Fant; Sound mixing & mastering: Helge Hasselberg; Production assistance: Suzanne Caroline de Carrasco; Directing recordist: Julia Gostynski; Set assistance: Marc Einsiedel, Laura Haas, Ruth Kaiser, Mattheo Lange, Ben Lauffer; Cordial thanks to: Brain Products GmbH, Hanseplatte, Juke In The Box, Kampnagel, Dr. Hermann Krämer, Samuel Witt
Fri, 24.5.2024, 7 pm
Opening
Introduction: Anna Nowak (Kunsthaus Hamburg)
9 pm: DJ-Set by Yeşim Duman
Sat, 25.5.2024, 9 pm, Kampnagel Concert by L Twills
with the performers Don Jegosah & Anto López Espinosa
Tickets: https://kampnagel.de
Fri, 12.7.2024, 7 pm Shadow Democracies, Anti-fascism and the Queer Art of Hospitality Lecture by Luce deLire & artist talk with Lila-Zoé Krauß
Wed, 17.7.2024, 5–7:30 pm Reading Club
Lila-Zoé Krauß – [After her Destruction] x José Esteban Muñoz: Performing Disidentifications
Sat, 27.7.2024, 3–8 pm
3–6 pm:Sound Ecosystems: Deep Listening, Collectivity and Care
Listening-Workshop with Isabelle Edi & Luïza Luz
6–8 pm: Performances by Elliot Reed & Lila-Zoé Krauß, Sibylle Peters, Rebecca de Toro, Ophelia Young
Image 1-3: Installation view: Katharina Duve – My Hand Seeks the Way, Kunsthaus Hamburg 2024, Photos: Antje Sauer Image 4: Nina Rippel, Der geflüsterte Film (film still)
Katharina Duve My Hand Seeks the Way
From 4 April 2024
Kunsthaus foyer
Situated between the street and the exhibition space, the foyer of the Kunsthaus is a place of transition; a threshold where modes of perception shift and questions about accessibility become evident. Following on from that observation, the Hamburg-based artist Katharina Duve has designed a new work for the stairs of the space.
My Hand Seeks the Way (2024) draws on an experimental film by Nina Rippel from 1992, which deals with the richness of human sensory impressions based on the perceptual world of blind people. Quotes from Rippel’s Der geflüsterte Film (“The Whispered Film”), her text Das Nicht-Sichtbare als Evidenz – Betrachtungen einer filmischen Praxis (“The Non-visible as Evidence – Reflections on a Cinematic Practice”) as well as poetic reflections by Katharina Duve herself were flocked onto eight seating elements made from felt in Braille and black letter. Thus, the work invites people with and without visual impairments to engage in an exchange about the complexity of perception through touch. Because not seeing does not mean perceiving less, but rather referring to an alternative spectrum of perceptions.
Katharina Duve (*1980, Schwerin, GER) works in the fields of film, costume and performance. She is part of the filmmakers’ group Auge Altona, a collaborator of the music group Deichkind and a member of the performance collective geheimagentur. Since 2022, she has been a professor of Time-based Media at HAW Hamburg. Her artistic works have been shown at the Falckenberg Collection (2023), the International Short Film Festival Oberhausen (most recently in 2022), the Tate Modern, London (2017) and Brut, Vienna (2017), among others. She lives and works in Hamburg.
Like in the cabinets of curiosities from the early phase of the museum history, Jil Lahr mixes objects of different origins and purposes to create space-related installations, drawing on an extensive collection. Removed from their original settings, the objects of global everyday life trigger new associations, which often reveal the bizarre and humorous nature of massproduced items. By taking them out of their conventional context of use, the artist addresses Western consumerism and refers to entertainment culture.
For the toilets of the Kunsthaus, Jil Lahr has developed the permanent installation Sticky Business. She intuitively redesigned the rooms using stickers that depict stones from her own archive. The natural objects, charged with personal memories, float in space and provide a wry commentary on the functional interior.
