open during exhibitions
Thursday to Sunday, 13:00- 17:00
and by appointment
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OMP123 / Cabinet project
Onomatopee project space and warehouse (outside)
19 September 2015 - 10 January 2016
For over a year Chinese artist Li Mu was working with the residents in his hometown Qiuzhuang in China to copy artworks from the collection of Eindhoven’s Van Abbemuseum. Li Mu selected artworks by Sol LeWitt, Richard Long, Dan Flavin, Andy Warhol, Daniel Buren, Carl Andre, John Körmeling and Ulay & Abramovic. The works were installed in the homes and streets of the village to initiate dialogue between East and West, at the same time to question how these works of art can function in this different environment and what reactions, responses they may generate.
The documentation of this project - a video installation is on view at the Van Abbemuseum; while Onomatopee presents a large-scale photograph of the reprodcution of Sol LeWitt’s wall drawing number 480 in Qiuzhuang, China, together with videos about the process of it’s making.
Parrallel exhibition at Onomatopee organized by Kris Dittel
Project assistance: Isis Tweepenninckx and Marleen Krijnen
A project in collaboration with the Van Abbemuseum.
Made possible thanks to the support of the Mondriaan Fonds and the Municipality of Eindhoven.
OMP120.2 / Research project
Opening November 28, bar opens at 6 PM
Exhibition until January 31, open Thursday-Sunday 1-5 PM
Living space “the future of life, the striving for development and desiring”, is slowed down in its development by ornament. With this argument, Karl Krauss, one of Europe’s first satirical writers, opposes the use of decoration in architecture and language, in his essay Spielraum (1912).
Nevertheless, ornament and decoration are being built all the time, released along patriotic political authority and set in stone by renovation, rewriting, erasure, destruction and renaming. Most (trans)national political agendas build their way into our culture with tactics such as these.
Slovenian artist Jasmina Cibic’s project Spielraum, both informative and appeasing, considers decoration as the key element in the creation of patriotic spectacle and takes the lifespan of its application to the test. The project reformulates the exhibition space as a combination of gallery, film set and theatre, as the many elements oscillate between prop, sculpture and to stage. Spielraum invites us to experience the programmatic decoration behind a composite cultural heritage, pointing to the similarities between different ideological spaces and their relation to representation and soft power. Reflecting our own interwovenness with the heritage we surround ourselves with, Cibic’s project plays with the visual renegotiation and a critical study of this symbolic order and proposes us to (re)consider the very understanding of this heritage.
Jasmina Cibic’s work explores how symbolic forms and language ideologically resonate in our lived environment. Through research, she gains a concentrated focus on all structures and systems involved within set (trans)national formulations. As a true visual artist, she weaves together ready-mades ranging from language and architecture to historical events and combines them in new forms of sculpture, two-dimensional works, film and performance that, in bigger shows, are being delivered in installations spanning the entire space. She presents us carefully staged, renegotiated parts resulting in a full scenographic totality.
Among other archival sources, the project draws on the plans and designs of the city of Belgrade for the first Conference of the Non-Aligned Movement in 1961, utilising the decorative architectonic elements of these documents and turning them into sculptural forms, exhibition furniture and film props. In the exhibition at Onomatopee, they are set against wallpaper murals of a landscape: a panoramic representation of a fictitious territory that the artist has composed from images drawn from Tito’s personal photographic archives, presenting picturesque and sublime landscapes that served his idea of the state. Within this composite, Cibic displays quotes from various political speeches on nation building, as blown up banners deposited throughout the imaginary territory.
Playing the identification of identity, Radical Aesthetics is a series of solo shows in which Onomatopee offers expanding orientation and provides further perspectives into the symbols we currently identify with. In every Radical Aesthetics exhibition, the experience of the art-work, in this case a performative video installation, is flanked by a secondary space that allows for further interaction. The interior is designed by PeLiDesign, the content edited by Onomatopee. Featured here are a video interview with Jasmina Cibic about her work by the critic Max Bruinsma; research material to browse through such as writings on protocol architecture and the Non-Aligned movement; and a specially-offered playful workshop titled Instructions, co-designed by Jasmina Cibic and Onomatopee, in which the public is invited to compose their own version of a political speech which endorses a new visual idiom, based on the political speeches that went to shape the aesthetic forms of the contemporary urban landscape as we know it today.
Curator: Freek Lomme
Project assistance: Marleen Krijnen
Graphic design: Glamcult studio
Spatial design: PeLiDesign
The exhibition is made possible with the support of the Mondriaan Fund and the municipality of Eindhoven.
Partner in the publication: Museum of Contemporary Art Belgrade
Opening November 28th
doors open at 4 PM
performance at 5:30 PM
exhibition runs until 3rd January 2016
open Thursday-Sunday 1-5 PM
Proverb strings or mutánga play an important role in the oral tradition of the Lega, a group of people from the northeastern areas of the Democratic Republic of Congo. Each string carries 40-60 miniature objects, which represent a proverb and traditionally function as carriers of wisdom. The meaning of these objects is activated in social situations, told and re-told, often in a debate and discussion, by members of the community.
Sarah van Lamsweerde’s project explores this past tradition and questions what it would mean to develop such an ideographic device in this age of disembodied images and communications. Real and imagined metaphors emerge through strangely familiar but clearly contemporary objects, tales and actions, creating a speculative view on what forms of knowledge can be achieved and rendered from (im)material interactions with our environment today.
The premise for this project presents us with aesthetical and ethical questions: what symbols to harvest from our contemporary jungle overgrown with Action shops and viral lifehacks? Is this form of cultural appropriation a dubious exercise or a good starting point for a collective conversation?
Together with fellow-artists Esther Mugambi and Alex Zakkas, Van Lamsweerde explores to what extent our individual tales are collective and how (un)common our places in the world are. More than making sense of this world, they look for relations both mundane and mystical by examining seeds of thought, burning dorito’s and other breaths of fresh unknown.
Sarah van Lamsweerde works across theatre and visual arts, exploring the range between (unfamiliar) languages and mass media phenomena to rethink presence and perception within the artistic experience. In 2008, she graduated from the Amsterdam performance programme DasArts. Her projects materialize as performances, installations or publications and are often based on research and long-term processes, in which practical work inspires speculative thought.
Curator: Kris Dittel
Project assistance: Isis Tweepenninckx and Anna Frijstein
The project was made possible with the generous support of the Mondriaan Fonds, Amsterdams Fonds voor de Kunst, Veem House for Performance, Stichting Stokroos, Municipality of Eindhoven and Kunstencentrum BUDA Kortrijk.
OMP121 / Cabinet project