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Rindon Johnson, I FIRST YOU (11/11), 2018, video animation, 5’28’’, Daata Editions, color, sound by Milo McBride, video still. Courtesy of the artist.
Exhibition
Rindon Johnson: Circumscribe
31 Mar 2019 – 28 Jul 2019
Address
- Schanzenstrasse 54
- Düsseldorf
- 40549
- Germany
Travel Information
- Drususstraà?e
For the first time in its history, the JULIA STOSCHEK COLLECTION will present an ensemble of solo exhibitions, performances, and screenings of works not included in the collection.
About
Over the course of a year, six exhibitions—three in Düsseldorf and three in Berlin—will open successively, beginning in March 2019 and running until April 2020. They will be accompanied by screening and performance programs, artist talks, lectures, and readings at both locations. Many of the artists featured in horizontal vertigo will show their work for the first time in Germany.
horizontal vertigo will feature commissions and new productions as well as existing works by a group of international artists whose interdisciplinary time-based practices share focused perspectives infused with feminist, queer, and decolonial critique, in resistance to restrictive concepts of identity, history, and representation. Each project deals with a specific context driven by the artist and what the artwork affords, creating a web of associations and stories over time that is both fluid and multivalent.
The curatorial framework for this year of programming is inspired by the writing of artist, writer, and filmmaker Trinh T. Minh-ha. The title is quoted from “Cotton and Iron” (1991), an essay in which Minh-Ha foregrounds plurality and “non-totalness,” challenging systems of binary opposition and definitive categorizations. Echoing this commitment, horizontal vertigo does not propose one overarching theme but thrives on the multiplicity of narratives and narrators at hand, exploring the inherent plurality of the entire program without prescribing a “right” way of reading it. horizontal vertigo ‘speaks to’ and not ‘about’ the participating artists, to quote Minh-ha, embracing dialogue instead of representation.
