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presents: Agnieszka Kalinowska ... So Is Moscow 25 January – 10 February 2007 Opening: 25 January 2007, 7pm at Kunstraum Walcheturm Kanonengasse 20, 8004 Zürich Opening hours: Wed-Fri 1 – 6pm, Sat 2-5pm The solo show with Polish artist Agnieszka Kalinowksa (born 1971) at the exhibition space of Karma International is a continuation of the group show “Paris Is Burning” currently showing at Galleria Laurin, Josefstrasse 151, Zürich. The title "Paris Is Burning" derives from the 1990 movie by Jennie Livingstone who displays footage of colored male homosexuals in the 1980's in Brooklyn. Their skin color and their sexual dispositions deprive them from participating in the public discourse of “normal society” which leads them to organize themselves in secret groups with their own rules, standards and realities. The shows main focus of the show lies on the deprivation of certain social classes from society as well as on the problematic of a prevented communication in general. The exclusion of parts of society from the public sphere has led in other cases to uproars or terror such as happened in Paris in fall 2005. After having experienced these affrays Agnieszka Kalinowska has produced straw pictures of burning cars, currently displayed at Galleria Laurin. "... So Is Moscow" at Karma International shows Agnieszka Kalinowska’s video installation "Great Scene" that was accomplished in Moscow in 2005. The film project consists of two parts screening on two opposite walls. On both sides we see the same woman wearing a yellow dress waiting in front of a building. One wall shows the famous “Mhat” Theater right before a play starts. On the other side we see the deserted entrance to the stage of the “Dubrowka” Theatre in Moscow: the place of the brutal hostage-taking on the 23 October 2002 of 800 visitors by Chechen terrorists who wanted to achieve the ending of the Chechenia War and the withdrawal of the Russian troops. Kalinowksa’s film seems to start off like a romantic story (a woman is waiting for a man to pick her up) but turns out to be a dense and ambiguous political statement. The piece is full of symbols and metaphors. The Chinese tune playing in the background is smooth and mellow, but it also stands for communism and human rights abuse. Knowing about the background of the Dubrovka Theatre, we quickly forget about the first idea of a love story and start to try to read the various allusions the artist gives us. ****************** Supported by LUMA Stiftung Polish embassy in Bern and Pro Helvetia Warsaw  |
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PAST HAPPENINGS • CHRIS LIPOMI • AGNIESZKA KALINOWSKA • SCREENINGS • OBJECTS • THE CORNY SHOW • THE DARK SIDE OF THE MOON • LATIFA ECHAKHCH • MATTHIAS BITZER • TREES BRING FORTH.. |
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