Magicgruppe Kulturobjekt

There are many, many things here alright, too many things.
(Adrian Searle, 1994 about the show „This is the Show and the Show is Many Things“, curated by Bart de Baere)

With Rafael Rozendaal we recently switched off the light regarding the visuality in W139, now we turn it on again with Magicgruppe Kulturobjekt. Installations or art objects? Do not exist! Author’s branding? Doesn’t matter. Material? Ok – here we go!

Considering the name Magicgruppe Kulturobjekt, we can assume that it is about an inarticulate agreement of a couple of people in order to produce something, which can be looked at as something collective later on. But in fact, it is not about an artist group, it is about a working concept intended to serve the effective continuation of studio situation into exhibition space. This method has been established by some of the artists and is still maintained. Yet, they prefer not to be mentioned, because that’s not the point. But finally, within this concept they not only appropriate the works of their colleagues, but also their entire production. Thus the project can only be regarded as a shared one.

At first, the architecture of the space is tested and its conditions are sorted out insofar as the new structure provides a safe place for the things to come. The invited artists, some already know each other, some meet the first time, work in the space under this dynamic concept of work by gathering objects and raw materials, mostly basic construction material to some extent worked and in expansive spatial arrangements installed. What ultimately materializes as a visual outcome of Magicgruppe Kulturobjekt, is a social fabric – the organic result of negotiation between idea, space, material and players.

Out of the situational, artistic production, the method Magicgruppe Kulturobjekt visually, structurally and also in an impressively sensual way questions institutional standardisations. In my case, the invitation for this project follows on a series of reactions, which I increasingly experienced with artists in collaborations with the W139, as well as in academies. Contrary to my self-conception as curator so far, the autonomy of the own production is on great demand again and I am asked as provider of structurally, clearly defined conditions: artists, object, curator, selection, institution, art market, etc.. And indeed, one notices a revival of the object art that cannot only be explained by the requirements of the art market. I also understand it as a reaction to the seemingly overwhelming, mostly by curators led, theoretical discourse about art appreciation, to that effect that the producers draw back to the sovereignty of visuality. In addition, as well as, in contrast to these tendencies the Magicgruppe Kulturobjekt is a strongly “visual discourse” and therefore an important impact on the programme of the W139.

(Tim Voss, director W139)

Photo's: Sanne van Renesse

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