Brace Brace by Annika Kuhlmann & Christopher Kulendran Thomas

11 Sep 2015 – 17 Oct 2015

Event times

Tue-Fri 11am - 6pm
Sa 11am - 4pm

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Art cannot forge a path into post-capitalism. To expect
this would mean to unnecessarily confine art and its


The aesthetic forms are incalculable, their tensions
with the social and economic forms are complex.
The best thing to ask of art is to keep the cracks open,
to maintain and intensify contradictions, and to resist
rash identification.
This exhibition gathers works that present themselves
as models or stand-ins rather than as completed works.
They give account of their embeddedness in economics
and technology and let artistic design collide with industrial
Franz Erhard Walther’s works Proportionsbestimmung
I & II (Proportion Determination I & II) were created in
1972 for Gerry Schum’s video gallery. Walther translated
one of his early actions from 1962 for the camera – an
objective survey of the operational framework of body
and apparatus.
KP Brehmer combined conventions of visual art with
the abstractions of statistics. In March 1971, 225,000
prints of his Korrektur der Nationalfarben (Correction
of National Colours) were inserted into the journal
Cécile B. Evans’s film Hyperlinks or It Didn’t Happen
probes identification and affect in the face of digitally
generated personas. It is present in the exhibition in
the form of a trailer.
With the film Enjoy Poverty (Episode 3), Renzo Martens
explores the role of producers and consumers of “critical”
art in the global division of labor. The sculptures of
the Congolese Plantation Workers Art League, produced
by Martens’s Institute for Human Activities, are replicas
of clay sculptures executed from 3D scans in chocolate.
The profits from their sale go to the producers.
Annika Kuhlmann and Christopher Kulendran Thomas
probe agency within the form of the corporation, designing
emergency equipment for the luxury market under
the label of BRACE BRACE. A study for their life preserver
Life Ring is presented in the exhibition.
In Heinrich Dunst’s work, the fragmentation of the work
form and the precarious interlinking of various media
forms that can be traced in many current works are
heightened in a particularly pointed manner. He has
developed an installative grammar that frames and
subverts the exhibition.


Kolja Reichert


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