Tabacalera from 16th April to 16th May

Future Centre Nacional de Artes Visuales
Edificio de Tabacalera
Calle Embajadores, 53
MADRID

The exhibition 'After the End / Faux raccords' brings together 29 international artists and offers a video and multimedia journey, notably including previously unseen works by Tony Cokes [US], Johanna Domke [DE/DK], Thomas Kőner [DE], Antoni Muntadas [ES], Hans Op De Beeck [BE], Charly Nijensohn [AR],Joan Leandre [ES], Manuel Saiz [ES], Corinna Schnitt [DE], Übermorgen [AT], Lawrence Weiner [US].

Shoppingcentret Bryggen i Vejle inviterer til fernisering torsdag 30.april med den næste kunstner i rækken af videoværker

Nu er den næste kunstner klar til at fylde de store videoskærme med sine værker i Bryggen. Det er Johanna Domke , der er en ung og allerede internationalt kendt videokunstner.

Udstillingen er et led i den unikke satsning på kombinationen af Kunst og Shopping, som Skandinavens største centeroperatør Steen & Strøm tog hul på i oktober sidste år med den storstilede premiere i Vejles største citycenter, Bryggen. Her vil skiftende kunstnere over en periode på et par år vise deres videoværker med løbende udskiftning hver tredje måned. Nu er vi nået til den anden kunstner i rækken af i alt otte, Johanna Domke. Og Bryggen inviterer derfor presse, kunstnere og udvalgte gæster til fernisering

torsdag den 30. april kl. 15.30

Udstillingen vil blive åbnet af kunsthistoriker Anna Krogh fra Kunsthallen Brandts. Og kunstneren, Johanna Domke, vil også selv være til stede. De tre fantastiske videoværker, Johanna Domke præsenterer, giver tilskueren en unik mulighed for at få et bredt indblik i hendes måde at undersøge virkeligheden på. Hun viser videoerne: SLEEPERS, CUERS samt STULTIFERA GARDEN. STULTIFERA GARDEN er et helt nyt værk, og Bryggen er stolte over at kunne byde velkommen til denne Danmarkspremiere.

Johanna Domke er uddannet ved Muthesius Academy of Art and Design, Kiel Malmö Art Academy,og Det kongelige Danske Kunstakdemi med afgang i 2006. I sin kunstneriske praksis undersøger Johanna Domke strukturer i samfundet og afsøger de psykologiske mekanismer i det offentlige rum. Hun er optaget af autentiske situationer og handlinger, der repræsenterer en genkendelig virkelighed, men hun blander hele tiden det dokumentariske og det fiktive. De steder og situationer, hun vælger at filme, udstiller modsætningsforholdet mellem det private og det offentlige, og understreger hvorledes individets muligheder i det offentlige rum styres af de overordnede systemer, der organiserer samfundsstrukturen. Hun vælger bevidst offentlige steder som lufthavne, parker og togstationer, men netop gennem disse steders anonymitet forskydes fokus fra det specifikke sted hen mod en mere psykologisk tilstand. Uanset om filmene er optaget med skjult kamera i det offent-lige rum eller er en iscenesættelse, udnytter hun kameraets voyeuristiske blik til at trænge ind menneskers intimsfære.

Udstillingsrækken af videokunst er tilrettelagt af Steen & Strøm i samarbejde med billedkunstnerne og kuratorerne Hanne Nielsen og Birgit Johnsen. Fotos af kunstværkerne kan downloades fra Bryggens hjemmeside på www.bryggen.com

Foruden de skiftende videokunstnere kan kunderne i Bryggen også opleve de to finske kunstnere Tommi Grönlund og Petteri Nisunens spektakulære værk. Det er, i modsætning til videokunsten, en del af shoppingcentrets permanente udstilling af kunst.

Yderligere oplysninger fås hos Steen & Strøm marketingdirektør Claus Tüchsen på tlf. 70 10 55 05/ 41 90 02 40

Johanna Domke at art agents gallery

Opening: 21. November 19:00

Exhibition: 21.November 08 - 17. Jannuary 09, Wed-Fri 11-18:00

Press realease:

We are excited to welcome you to Johanna Domke’s second solo show at art agents gallery.

Johanna Domke’s artistic practice derives from close observation of urban structures and the psychology of public space. Her films revolve around our experience of reality and the aesthetic tension between the private and the public. Domke is preoccupied with the authentic situation but alternates between documenting and staging such situations. The subsequent technical processing of the material reduces these situations to isolated phenomena that move between the border of documentary and non-narrative fiction.

Johanna Domke’s film Cuers is inspired by Franz Kafka’s The Trial and the filmic universe of Orson Welles. The audience is taken on a fleeting and meandering journey through different sites in public space, where people are exposed to long waiting. The individual is presented as a singular being, confronting structures of public space. The particular situations are represented in an inspirational manner shifting in and out of each other. Time and space dissolves in kaleidoscopic pictures, emphasising how we both physically and mentally have trouble adjusting to our anonymous environment. Cuers seeks to create a mental space through abstraction and subversion of the familiar.

Domke’s newest film Stultifera Garden also deals with an overlapping structure of the public and the private. The film is set in a park – a cultivated form of nature. In baroque times the park functions as a symbol of power by the oligarchy, demonstrating their influence by forcing nature into a human ideal. The traditional garden is a place where the entire world is represented in highly symbolic symmetry and perfection. Today it is a place were city dwellers recover from busy urban life. At the same time it is a place implementing the “elsewhere” - an un-ruled territory for individuals who are in conflict with society or the human milieu in which they live. It is also a place for individuals whose behaviour is deviant with the respect to the mean or the required norm.

As in earlier works, Domke uses a travelling camera to approach the parks diverse character, emphasizing polarities as observing and being watched, high and low culture, control and non-control. The incessant pan evolves from a classic portal towards a dystopic, mazy structure of trails. The camera experiences different milieus of the park not directly examining them but portraying them with an inexplicit openness. She accesses milieus that formed architectonical structures in the shrubs, such as cruising areas and drug trafficking points. She discovers places that became functionalised entities - for teens as a get-away, for elderly as a meeting point - each and everyone with their own character and history. Without stating explicit action or narrative Stultifera Garden is more interested to explain that a park is a place for the other, where all these milieus and facets function along side. Intruding as an omniscient eye, Domke is constructing the real to establish the fictitious.

Johanna Domke, was born 1978 in Kiel, studied at the Muthesius Academy Kiel, the Royal Danish Art Academy, Copenhagen and the Malmö Art Academy, Sweden. She received many awards and scholarships and got a lot of attention in international group and solo shows, as for example during the last 2 years: 2008 Unbreakable Space, Overgaden Institute of Contemporary Art, Kopenhagen, DK; Enter, Kunsthallen Brandts, Odense, DK; Young Identities – Global Youth, Kunsthalle Dominikaner Kirche, Osnabrück; 2007: Subtle whispering, Total Museum of Contemporary Art, Seoul, Korea; Ghosts in the Machine, 516 ARTS, Santa Fe, US; Bildschirmauge oder das neue Bild, Forum d'art contemporain, Casino Luxembourg, LUX.

At the moment Johanna Domke is showing at:

ENTER at Kunsthallen Brandts, Odense, DK, 24.10.08 - 18.01.09
AudioVideo, Gimsinghovedet, Struer, DK, 01.11. - 31.11.08
Grænseland, Sydslesvig danske Kunstforening, Flensburg, D, 6.11. - 29.11.08

Art Agents Gallery
Fabrikhallen Phoenix
Wilstorfer Straße 71
D-21073 Hamburg

ENTER på Kunsthallen Brandts 24.10.08 - 18.01.09

ENTER er tænkt som en talent-udstilling for danske kunstnere. Der er tale om en triennale, der præsenterer unge, talentfulde kunstnere fra vores egen del af verden. Ideen er at give den nye kunst en offentlig platform med et bud på tidens tendenser. Med udstillingen ENTER deltager kunstinstitutionen i debatten om samtidskunstens præmisser i dag, således at det ikke alene er kunstmarkedet der sætter dagsordenen for kunstnerisk succes.

Kurator-teamet består udover Kunsthallens direktør Lars Grambye og udstillingsinspektørerne Lene Burkard og Anna Krogh desuden af de tre rektorer fra landets kunstakademier, Mikkel Bogh, Sanne Kofod Olsen og Jesper Rasmussen.

ENTER PRIZE I forbindelse med udstillingen indstifter MONTANA en kunstpris: Montana ENTER PRIZE samt to rejselegater.

Følgende kunstnere deltager på ENTER 2008 A-Kassen, Nanna Debois Buhl, Jesper Carlsen, Johanna Domke, Ingen frygt, Heine Klausen, Martha Kramær, Sonja Lillebæk, Pernille With Madsen, Lone Hauggaard Madsen, Simon Dybbroe Møller, Jacob Nielsen, Allan Otte, Lea Porsager, Randi og Katrine, Tove Storch, Lars Thygesen, Mette Vangsgaard, Pernille Kapper Williams og Lars Worm

Lise Blomberg Andersen, Rikke Benborg, Vibe Bredal, Linda Bjørnskov, Johanna Domke, Gudrun Hasle, Sian Kristoffersen, Astrid Kruse Jensen, Mie Mørkebjerg, Julie Nord, Fie Norsker, Larissa Sansour, Marika Seidler, og Katrine Ærtebjerg.

Udstillingsperiode: 6. november – 29. november 2008
Fernisering: fredag 6. november 2008 kl. 17-20

Pressen og anden generel henvendelse kontakt venligst Marika Seidler
e-mail: mseidler@gmail.com

Sydslesvig danske Kunstforening
Norderstr. 59
24939 Flensburg
Mail: hans-jessen@foni.net
Web: www.dcbib.dk/sdk/

am 30.08. 14:00 Uhr im Kino Arsenale

"Introducing Berlin" ist eine Auswahl von zeitgenössischen Film- und Videoproduktionen von in Berlin arbeitenden internationalen Künstlern. Es werden Filme gezeigt von u.a. Keren Cytter, Clemens von Wedemeyer & Maya Schweizer, Shahyrar Nashat, Köken Ergun, Antje Majewski, Amy Patton, Sylvia Schedelbauer, Phillip Scheffner und Johanna Domke. Eine Auswahl wird im Rahmen der "Sun Screens" nun in Berlin gezeigt.

Similar to earlier works by Johanna Domke, ”Stultifera Garden” deals with an overlapping structure of public and private space. The film is set in a park – a cultivated form of nature. In baroque times the park functions as a symbol of power by the oligarchy, demonstration their influence by forcing nature into a human ideal. Today it is a place were city dwellers can recover from the busy urban life. But at the same time it is a location for people that don’t really have a place in society or their actions are unsuitable to be performed in public. This ambiguous character of public space is the field of interest Domke’s newest work unfolds upon.

The title “Stultifera Garden” is referring to Foucault’s theory about the “madman”. Sandwiched historically between ‘folly’ and ‘illness’, ‘madness’ is a classification that reflects a change in the social psyche and the introduction of fear of it sometime around the seventeenth century. A legend from the 17.th century tells that mad people would be set out on a ship – the ship of fools or “Stulifera Navis” – that sailed the oceans without destiny.

“Stultifera garden” is built up upon a double narrative structure: In the beginning we follow a plot in a park, with a shifting spectator perspective. The scenes are mixed with scenes of a theatre play, which is in the state of rehearsal. Polarities as observing and being watched, high and low culture, control and non-control are emphasized through the two parallel narratives.