Can art affect life or at least give us a direction to change it? Frontera. A Sketch of a Future Society, is a bilingual book with international contributions about an experimental public art project that tried to transform the everyday life in a Southern Mexican border in a little town called Frontera Corozal, in Chiapas. This book aims to elaborate and theorise through essays, interviews, artistic documentation, indigenous stories, and poetry, on the contemporary art projects created within the lapse of two years. This project won the Best Art Practices Award -given by the italian Bolzano Government in 2008- “…for the complexity of the themes touched upon and its innovative articulation… the ability to involve tradition and the local population in the process of creation and fruition of the submitted works; the innovative nature aimed at surpassing public art practices of the Nineties; the theme and, in particular, the investigation on the frontier question in an area with scarce media attention; the unusual ability to arouse feelings of freedom, imagination and poetry.” Edition: Lourdes Morales, Javier Toscano

Just like her previous projects Victims and 32° N / 53° N, in her new extensive work Unlimited History, Daha combines aspects of her family history with events of profound historical significance. In this way, Victims, a considerable series of painted portraits of victims of the nine eleven attacks, is, through one of the victims, Darya Lin, a cousin of Daha’s then husband, directly connected with the biography of the artist. The project 32° N / 53° N, its title going back to the geographic coordinates of Iran, addresses the historical events of the 20th Century in Daha’s country of birth and their association with the history of her family, as well as with the artist’s own biography, who in 1978 at the age of seven, just before the Islamic Revolution of 1979, left her hometown Tehran forever and settled in Vienna, her mother’s birthplace. In her comprehensive historical research it is characteristic for the artist to proceed with an awareness of the constructed nature of history and of the subjectivity of the historical narrative. The new project Unlimited History has its starting point in the video Street of Roosevelt (2009) and is thus interlocked directly with 32° N / 53° N. In the video, Daha’s Iranian grandmother Monirjoon recalls the street on which she lived during her childhood and youth in Tehran: the “17th of Dey 1314” Street was named after the banning of the chador by Reza Shah in January 1934 (as was previously also the traditional male clothing, the kolah) and after the “Liberation Day of the Woman” celebrated during the Pahlavi dynasty. Grandmother Monirjoon also recalls in the video her attending a ceremony on the occasion of her graduation and the arrival of Reza Shah and his wife and daughters at the event, who for the first time ostentatiously appeared unveiled in public, but also the fact that in the American embassy, which also – just like Monirjoons house - was situated on the “17th of Dey 1314” Street, parts of the Tehran Conference were held. The memories of the old lady and her emotions at the sight of the prepared road closure by several military vehicles and tanks at the occasion of the conference, which remained secret to the Iranian public up until the departure of Churchill, Stalin and Roosevelt, mingle with the historical facts, which the artist inserts as text blocks into the moving images, for example the recording of the four names of the street: before 1934 “Amjadeyeh”, from 1934 “17th of Dey 1314”, from 1943 “Roosevelt” and from 1979, finally, “Dr. Mofateh” Street. Again, it is this relationship between private and public history, which catalyzes and motivates the new project Unlimited History. Based on that link, between the Tehran conference with the three principal allies of the anti-Hitler coalition in World War II and the memories of her grandmother, Daha begins an extensive research on the internet and in public and private archives, first of all pursuing it in the width of the historical links between Iran and the United Kingdom, the United States and the Soviet Union, then directing it to the construction of the Trans-Iranian Railway as the key research area, in which she exemplarily traces the historical, subjective and objective connecting lines. Being aware of the complexity of events and the numerous interfaces, where these repeatedly influence the fate of her family, finally, the archive of the German Foreign Office in Berlin becomes the key element in her research, in which the documents on the relationship between Nazi Germany and Iran, in conjunction with the Trans-Iranian Railway, become pivotal in Unlimited History. The project, implemented under Reza Shah from 1927 to 1938, realizing the construction of a rail network that connects the capital Tehran with the Caspian Sea to the north and the Persian Gulf in the south, marks the first steps of the country into the age of industrialization. At the same time, it plays a vital role in the strategic plans of both Nazi Germany with its plans of attack against the Soviet Union and the Allies. Nazi Germany dispatched its engineers to Iran and was particularly involved in the development of the northern section, however, the Germans were expelled, in association with the abdication of Reza Shah in 1941, forced by the Allies, and thus, the Trans-Iranian Railway was seized during the occupation of Persia by the Anglo-Soviet invasion and served as a so-called “Persian Corridor”, supplying weapons for the Soviet troops. To begin with, Daha approaches the complex historical events with a research diary in the form of a notebook, in which original documents, stamps, excerpts from historical documents and sketches are included, extracted from the abundance of her research. On this basis, the various project components are created in different media: drawings, negative copy drawings of significant, sometimes rare documents, primarily from the archives of the Foreign Office, furthermore, painted maps, based on the imagery of war magazines, the National Geographic or the Pocketguide to Iran, showing strategically important sections of the railroad and the historical plans of the invaders, as well as videos, including military parades in 2006, referring to the historical events, and finally, landscape paintings, on the one hand the black-and-white paintings, which combine the headlines of historical reports with images of contemporary photojournalists, and on the other hand landscapes of a reduced palette, which track down today’s views of the most strategic locations in the course of the Trans-Iranian Railway with Google Earth, connecting them with the corresponding geographic coordinates. With the juxtaposition of content, media, and perspectives, Daha takes a multiple look at the historic events, that does not claim to be scientific, but always strives for factual accuracy. The artist confronts the discrepancy between individual and institutionalized history in order to question the complexity of the present, the essence of which becomes apparent through her historical digressions. (Kathrin Becker) Authors: Ramesch Daha, Roland Schöny, Wolfgang Drechsler

“Lorem Ipsum Dolor Sit Amet” is the third in a series of exhibitions and publication based on a wide-reaching research about writing with the title “Possible Content for 18 Pages”. The original typewritten manuscript of Vilém Flusser’s essay “The Gesture of Writing” provides the thematic and formal-aesthetic foundation for reflecting the act of writing at the intersection of linguistic, visual, physical and spatial communication. “To write,” says the philosopher about the basic requirements that should lead to a complete piece of writing, we need “a blank surface, for instance a white leaf of paper; an instrument which contains a matter that contrasts with the whiteness of the paper; the letters of the alphabet; the convention which gives a meaning to the letters; ‘orthography’ = correct writing; the rules which order that language, what is called ‘grammar’; an idea to be expressed in a language; and a motive to express that idea”. Understanding the act of writing as a culturally embedded gesture, “Lorem Ipsum Dolor Sit Amet” covers artistic, literary, as well as curatorial and editorial fields of action and combines them. The book is published on the occasion of the eponymous performance by Lois Bartel at the Akademie der Künste in Berlin (June 11, 2016) and contains a curatorial-editorial statement by Franz Thalmair. Furthermore, the artist Michalis Pichler and the professor for media theory and aesthetics Oliver Ruf situate the publication in an actual context of literature and criticism. The participating visual artists expand the topic of the research with artistic contributions especially made for „Lorem Ipsum Dolor Sit Amet“. Text contributions: Michalis Pichler, Oliver Ruf, Franz Thalmair Artistic contributions: Lois Bartel, Irma Blank, Daniel Gustav Cramer & Haris Epaminonda, Alejandro Cesarco, Natalie Czech, Agnes Fuchs & Thomas Freiler, Nikolaus Gansterer, Charles Gute, Rafaël Rozendaal

Eine der hauptsächlichen künstlerischen Ausdrucksweisen von Viktoria Tremmel ist die Zeichnung, die sie als ein Medium betrachtet, das die Entäußerung unmittelbarer Erfahrungen ermöglicht. In einigen Fällen entstehen daraus auch Objekte. In ihrem zeichnerischen Oeuvre lassen sich zwei, sich ergänzende Bildfindungsstrategien, identifizieren. Einerseits sind es, fast ungelenk eindrucksvoll wirkende Zeichnungen, die zu Wortfindungen als Titel drängen und assoziativ sehr aufgeladen sind. Andererseits gibt es auch kalkulierte Zeichnungen, die sich des Repertoires der allgegenwärtigen medial vermittelten Bilder, bedient. Mit befremdlichen Qualitäten aufgeladen, und zusammen mit der Begriffspoesie der Bildtitel, entsteht so ein Schwingungsgefüge assoziativer Resonanzen. So entstehen manche irritierende Momente die im Bewegungsfluss von Bedeutungen in der Oberfläche des Selbstverständlichen Risse erzeugen, durch welche wunderbare und zuweilen abgründige Welten aufleuchten. (Text Kurt Kladler)

Maria von Gneisenau (1873 Elberfeld -1926 Berlin) erwarb Schloss Molsdorf 1909 nach ihrer Scheidung vom Urenkel des berühmten Generalfeldmarschalls. Die zweifache Mutter betrieb den Umbau des Anwesens als künstlerisches Projekt, das ihr half, eine Sinn- und Lebenskrise zu überwinden. Davon künden vor allem zwei einmalige Wohnräume, mit deren Entwurf und Ausführung die Gräfin 1909 Paul Schultze-Naumburg und die Saalecker Werkstätten beauftragte: ein kostbar ausgestattetes Marmorbad und ein fantastisch dekorierter Ruheraum, der mit einem Aquarium vor dem hohen Fenster weniger an eine Grotte als an den Meeresgrund erinnert. 1914 ließ die Gneisenau ferner den Pavillon im Schlossgarten zur Automobilgarage umbauen und übertrug das an sich schon bemerkenswerte Vorhaben noch dazu einer Frau: Emilie Winkelmann gilt als erste freie deutsche Architektin überhaupt. Mit der vorliegenden, aufwendig gestalteten Publikation werden trotz schwieriger Quellenlage erstmals Biografie und Persönlichkeit einer bislang recht unbekannten Dame vorgestellt. Diese muss hinsichtlich ihres Lebensmodells wie Kunstgeschmacks sicher als konservativ-traditionell gelten. Umso interessanter erscheinen daher ihre Versuche, sich als Frau zu emanzipieren und sich als Schriftstellerin zu betätigen. Die Gräfin war Harry Graf Kessler im Berliner Haus ihres Halbbruders Karl von der Heydt begegnet und mit Sophie Hoechstetter und Rainer Maria Rilke bekannt. Ihr nun erstmals edierter und publizierter Briefwechsel mit dem Dichter gibt nicht nur über das Verhältnis von Mann und Frau Auskunft. Er beleuchtet auch das Rollenbild des Künstlers wie das der Frau von Stand und somit die unterschiedlichen (bürgerlichen und aristokratischen) Auffassungen von Kunst und Leben. Sowohl die Gneisenau als auch Rilke nutzten verschiedene Kunstformen zur Selbstinszenierung und -stilisierung. Dabei war auch Schloss Molsdorf von Bedeutung, dessen modernes Baugeschichtskapitel mit der vorliegenden Publikation erstmals und reich bebildert dokumentiert wird. Das Design des Buches spiegelt einerseits die Aufmachung der Publikationen der Gräfin wider. Es verbindet aber auch und besonders typografisch Vergangenheit mit Gegenwart. Im zweiten Teil des Buches werden noch dazu ausgewählte Arbeiten von Delphine Courtillot, Jorge Chamorro, Wiebke Meurer und Sarah Westphal vorgestellt. Deren Positionen aktueller Kunst und zeitgenössischen Designs reflektieren (auch im Rahmen einer Ausstellungsreihe 2016 auf Schloss Molsdorf) Eigenschaften und Phänomene, die schon Anfang des 20. Jahrhunderts "modern" und für Maria von Gneisenau bedeutsam waren. Bis heute haben sie nichts an Faszination verloren: Das durchaus modebewusste und literarisch inspirierte Aus- und Anprobieren verschiedener weiblicher Rollen und Identitäten sowie das Aufbrechen von stereotypen Geschlechterbildern, eine bisweilen dekadente Vorliebe für alles Dekorative sowie Zeitschichten und Atmosphären, die sich in Wohnräume einschreiben. Mit Texten von Susanne Längle, Dirk Naguschewski, Silke Opitz und Lut Pil.