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Agenda

FINISSAGE The Trouble with Value + season closing drinks
Onomatopee
Friday, July 27, 17:00

Finissage of the exhibition The Trouble with Value + a guided tour with curator Kris Dittel + season closing drinks with tropical vibes 


Valuable Reading Club
Wall Street
Sunday, June 10, 16:00

Valuable Reading Club 
Within the framework of the exhibition The Trouble with Value taking place at Onomatopee and Wall street’s project, the Valuable Reading Club will gather Sundays 10/06, 24/06 and 08/07 in order to read and discuss essays and critics over the relationship contemporary art maintains with value. Though practical and theoretical points of view, we will analyze the role of information (in its wide sense) in the evolution of the value of pieces of art.

Participation is free, please register here


OPENING The Trouble with Value @Onomatopee
Onomatopee
Saturday, April 21, 18:00 - 23:00

The second chapter of a collaborative project between Onomatopee and Bunkier Sztuki Gallery of Contemporary Art, Krakow.

With the participation of: Benera and EstefanRachel Careygerlach en koopFokus Grupa, Karolina Grzywnowicz, Monique HendriksenArnoud Holleman and Gert Jan KockenKornel JanczyAdrian Paci, Feliks Szyszko, Timm Ulrichs.



Exhibition

Onomatopee 151 / Research project
The Trouble with Value

OPENING 21 April 2018 18:00
Exhibition continues: 22 April - 27 July 2018

Following its first chapter at Bunkier Sztuki, Gallery of Contemporary Art, Krakow, Poland The Trouble with Value arrives with a second iteration to Onomatopee. Curated by Kris Dittel (Onomatopee) and Krzysztof Siatka (Bunkier Sztuki), opening at Onomatopee, Eindhoven on Saturday, April 21, 18:00 – 23:00.

The Trouble with Value discusses the tangled story of the symbolic and economic value that a work of art holds, being a product of its maker’s labour; with an attempt to provide insights into current notions of value and value systems surrounding us.

With the participation of: Benera and Estefan, Rachel Carey, gerlach en koop, Fokus Grupa, Karolina Grzywnowicz, Monique Hendriksen, Arnoud Holleman and Gert Jan Kocken, Kornel Janczy, Adrian Paci, Feliks Szyszko, Timm Ulrichs.

 

Any artwork is subject to a web of assessments, expressed from the perspective of experts and audiences. Among those actors in this judgmental spectacle are curators, critics, art historians, philosophers, art dealers, and of course the public too. Institutions and the machinery of the art market complete this disposition.

Aside from the monetary evaluation of artworks and their unregulated market, the criteria for an artwork’s quality and its merit remain rather vague. Despite this fact the contemporary art world is persistently fixated on the “value” of art: wanting to recognize what is “new” and “original”, “relevant”, “challenging” or “radical”. Yet, is it possible to truly recognize what makes a work of art “outstanding” or “contemporary”, those qualities which are telling of their time while also carrying universal modes of understanding?

The whole is made from a not-quite-transparent set of determinants that are difficult to break down. As usual, it is much easier to reflect on the past, for a look back provides examples of views and ideologies that defined – perhaps in a rather simple way – values and “qualities” of artistic creations. This is how the development of the canon of art has reached a condition where, despite continual redefinition and deconstruction, its rate of change is tardy at best. Well, don’t we all like tunes we already know?

Since the arrival of the avant-garde movement art has taken a progressive and experimental position, one which breaks away from tradition and introduces new ideas that sometimes do not receive appreciation and understanding during the era of their creation. According to many of its critics, the socially engaged ideals of the early avant-garde slowly faded into an elitist project in which only a continuous chase of “new and radical” impulses remained. Other critics consider contemporary art to be little more than an exceptional asset, a neutralized commodity that refrains from institutional criticism or engagement with the politico-economic realities of our time.

Today, when the methods of branding, marketing and aura-creation are the prevailing means for valuation the good-old invisible hand of the economy, matching demand and supply, is at rest.  The booming contemporary art market behaves similarly: without a set of market rules, it operates on the basis of an empathically fetishized commodity. Is art capable of escaping (and should it) a commodity fetishism that relies on the apparent autonomy of an artwork and its aura? How can we devise other strategies to value art?

The Trouble with Value aims to locate and extract practices that bring us closer to understanding the potential of art to represent different notions of value in the contemporary. How can we counter the certain apathy of the contemporary to engage with positions that resist this mood and present us with challenging perspectives on value? The project attempts to locate artistic and institutional practices that offer viewpoints beyond the strategy of blending-in and conforming to the rules.

 In the light of the above, an investigation into the sources of an artwork’s value, the values it may create and the value systems it is subject to is an arduous, if not simply naïve task ­– for all methods, theories and ideologies fail. It is impossible to lay out the basic arguments in a singular, clear and precise manner but it is possible to distinguish several attitudes within the practices of contemporary artists as being notable for their reflections on the difficult process of cultivating value in a work of art. 

One such aspect is the role of language in building narratives and providing a layer of immateriality to complete a work of art. We may also take into consideration the variety of modes artists (de-)value and disseminate their artworks. The infrastructure of art and the institution’s role in the circulation and presentation of art is certainly one we cannot disregard. Furthermore, we would like to consider iconoclasm as a mode of image and value creation along with matters of the canon of art in globalised society. Last but not least, we would like to acknowledge and problematize the question of artistic labour and its modes of valuation inside and outside of its institutions.

Download the exhibition guide HERE

 

The exhibition is the second chapter of a collaborative project between Bunkier Sztuki and Onomatopee.

Curated by Kris Dittel (Onomatopee) and Krzysztof Siatka (Bunkier Sztuki).

Exhibition graphic design: Agata Biskup

Exhibition production:
Technical support: Guus van der Velden
Production assistance: Pernilla Ellens and Marine Kaiser

Reading group organisation: Marine Kaiser

 

Supported by The Mondriaan Funds and the Province of Noord-Brabant. Additionally the project received support from the Mondriaan Funds’ Experimental Regulation for fair artists’ wages.
The participation of Karolina Grzywnowicz and Kornel Janczy is supported by the Adam Mickiewicz Institute.
Anca Benera and Arnold Estefan’s participation was made possible with the support of the Romanian Cultural Institute Brussels.

 

 

 

 







© Onomatopee 2011
Arnoud Holleman and Gert Jan Kocken, Broken Thinker (www.brokenthinker.nl); Karolina Grzywnowicz, Still Life (black oak sculpture) Photo: Peter Cox
Arnoud Holleman and Gert Jan Kocken, Broken Thinker (www.brokenthinker.nl); Karolina Grzywnowicz, Still Life (black oak sculpture) Photo: Peter Cox


Rachel Carey, Liquidate it All Away (video 10’ and installation)
Photo: Peter Cox
Rachel Carey, Liquidate it All Away (video 10’ and installation) Photo: Peter Cox


Fokus Grupa, Map of Invisible Matter (banner and animation) www.invisiblematter.xyz Photo: Peter Cox
Fokus Grupa, Map of Invisible Matter (banner and animation) www.invisiblematter.xyz Photo: Peter Cox


Monique Hendriksen, Naturally False (video 9’30’’) Photo: Peter Cox
Monique Hendriksen, Naturally False (video 9’30’’) Photo: Peter Cox


Feliks Szyszko, Art Box Mondrian (acrylic on board, lithograph, 1972) Photo: Peter Cox
Feliks Szyszko, Art Box Mondrian (acrylic on board, lithograph, 1972) Photo: Peter Cox


gerlach en koop, Dispersion (waterproof sandpaper, 1 euro coin), Entitled (granite ’vide-poche’) Photo: Peter Cox
gerlach en koop, Dispersion (waterproof sandpaper, 1 euro coin), Entitled (granite ’vide-poche’) Photo: Peter Cox


Benera and Estefan, I work, therefore I’m not
(drawing series) Photo: Peter Cox
Benera and Estefan, I work, therefore I’m not (drawing series) Photo: Peter Cox


Timm Ulrichs, Ich kann keine Kunst mehr sehen! (poster) Photo: Peter Cox
Timm Ulrichs, Ich kann keine Kunst mehr sehen! (poster) Photo: Peter Cox




graphic design: Agata Biskup
graphic design: Agata Biskup