Micro
Jos de Gruyter & Harald Thys

At the end of the 1970s, we watched Micro Macro on Belgian television every day. In this game show, a number of candidates were shown an extreme close-up of an object. While the image zoomed out very slowly, they had to guess which item it was. Whoever recognized it first won the corresponding object. Usually, it was a trivial thing like an ashtray, a padlock, a bucket or a mixer.

Film screening: Cemile Sahin, Four Ballads for my Father–Spring, 2022

Cemile Sahin, born 1990 in Wiesbaden, Germany. She lives and works in Berlin. Her latest exhibitions include A Song of Tigris & Euphrates, at Kunsthalle Osnabrück, Osnabrück, Germany, in 2022 and It Would Have Taught Me Wisdom, at Esther Schipper, Berlin, Germany in 2021 as well as Biennale de Lyon 2022, France Manifesto of Fragility. She was awarded with the Alfred Döblin-Medaille for the novel TAXI, and the ars viva Prize, both in 2020.

For me, images and text belong together. And that also corresponds to the way I generally work. When you work with film, you also must have a certain relationship and access to language, because you can’t detach one from the other.

Dorota Jurczak

Dorota Jurczak, born 1978 in Warsaw, Poland. She lives and works in Palermo, Italy and Brussels, Belgium. Her latest exhibitions include PICPUS, at Saint-Martin Bookshop, Brussels, Belgium in 2022, Złotousty, at Sies + Höke, Düsseldorf, Germany, in 2019, Bzzz, in Bergen Kunsthall, Bergen, Norway, in 2018, JOHANNA, at Künstlerhaus Stuttgart, Germany, in 2017.

Schatten personaze
gehen außenrum
schmieren ihre wizage
spielen dumm
bizarre bandage
was kann mann machen?
schon lange schantage
einfach lachen

Charles
Stankievech

Charles Stankievech, born 1978 in Okotoks, Canada. He lives and works in Toronto, Canada. His latest exhibitions include The Eye of Silence at Contemporary Calgary, Canada, in 2023, La llave de cristal (viajes-espejo) at Tae Foundation, Hacienda Ochil, Yucatán, Mexico, in 2021, Open Secret and The Last Museum, at KW Institute for Contemporary Art, Berlin, Germany, in 2021.

Zuza Golińska

Zuza Golińska, born 1990 in Gdańsk, Poland. She lives and works in Warsaw, Poland. Her latest exhibitions include Material Fatigue, at Central Museum of Textiles, Łódź, Poland, in 2023, Piercers, at Phoinix, Bratislava, Slovakia, in 2022, Villa(in) with Markéta Slaná, at Villa Tugendhat, Brno, Czech Republic in 2022, The Discomfort of Evening, at Zachęta National Gallery of Art, Warsaw, Poland, in 2022 as well as the Biennale Zielona Góra in 2022 and was awarded the same year the DOROTHEA VON STETTEN ART AWARD, at Kunstmuseum Bonn, Germany, for The Claws of Events.

In my practice I outline the seemingly binary relationship between modernism and contemporary romanticism, between discipline and magical thinking. I explore the impact of space and architecture at the human level. I analyse the relationship between an organised structure and the body. The public sphere and the private sphere. Through my projects, I try to build new, less hierarchical relationships, between people and the environment.

A fieldwork engages with the geographic site but then warps one’s perception of the space comparable to a mathematical “strange attractor.” Sharing, on the one hand, the history of art installation and on the other hand, the history of “site-specific” or earthwork art, a fieldwork creates its own temporary architecture within a space or in a landscape. However, such a landscape need not be natural and the architecture may not always be a traditional shelter or sculpture, but can be composed of sonic material, electromagnetic fields, light fluctuations, or relationships. At its core, a fieldwork is dynamic and geospatial.

Micro Jos de Gruyter & Harald Thys