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Foundation is an exhibition space and curatorial studio based in Vienna. The platform facilitates artistic practices focusing on institutional commentary and contemporary discourses across the media. In detecting the voids and frictions of institutional staging, Foundation aims for generating a basis for artistic research and establishing broad and unexpected collaborations across the field.

Foundation
Hainburgerstraße 47/1
1030 Vienna
Austria

contact@foundationvienna.com
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Opening hours
9. – 11. 6. 2017: 16:00 – 18:00
from 12. 6. onward: by appointment

With kind support of:


foundationvienna.com, Nightly Build, 2017-06-09

Mythical Beasts / Soft Spots Arena

21. 9. – 11. 10. 2017

Mattia Macchieraldo, Flavio Palasciano,


Beautification is a form of trivialisation
Poeticization is a form of banalisation
A pedestal is the institution’s altar
Institutionalisation normalises a language of violence

A formal discussion on representational aesthetics, sensualization of violence, post renaissance sculpture, vaporwave, hypebeasts, desire and dispersion.

In their long lasting collaboration Mattia Macchieraldo’s and Flavio Palasciano’s focus on mechanisms societies generate realities from fiction. By doing so they perpetuate a playful approach within their intimate world of images and signs, in a process of breaking, shifting and reassembling them. Topics for their works derive from mythologies and escapism within existent cultural patterns.

Operations on social texts move along contemporary medial patterns, which they rewrite. Basic elements are based in branding processes as a mode of streamlining information, as well as functions derived from encyclopedic online search engines. The transformations move along the coping mechanisms of translation, extension, formatting, fragmentation or a simple copy. Usual readings could be broke and put in place in relation to contemporary struggle for meaning.

The reconfigured text and image patterns transform open up to unexpected readings. Transformations do not refer to their original meaning any more, but to the inexistence hold and structure. Following Mark Wigley’s reading of Gottfried Semper’s theory of cladding, the social text derives through the covering of the load bearing structures with an ornamental fabric. In this approach the representational function of an ornament gains more importance than the simulated transparency of “real” materiality.

In their show “Mythical Beasts: Soft Spots Arena” the artists follow questions of gender and heteronormativity. Through performing shifts the codependency of institutional space and sexuality gains visibility. The inscription of their work within the exhibition space of foundation also a rewriting of these relations sets in. Their work unfolds on two different places, which articulate in the form of layers. By doing so they overlay, cross and collapse.

The fist layer opens the show towards a critical debate on the poeticization of violence in western art history. Through appropriation and idealization the artists walk at the edge between violence in western sculptural history and contemporary formations of violence as articulated in branding mechanisms or toxic masculinity. In referring to Gian Lorenzo Bernini and Giambologna an anachronistic opposition is installed, which diffuses the sight, leading away from preconfigured framing conditions.

The second layer of the work operates around staging and elaborates on the idea of facilitation sculptures, as objects which guarantee the smooth functioning of the exhibition space. As part of this layer different dimensions of institutional space are exemplified, which usually tend to disappear: Spotlights, pedestals and benches as elements, which construct a consistent economy of sight. In the shape of a hook, it collides with the cultural codification of the silk prints, as they start to merge in ornamentation, in an open process that models and streamlines certain visions within idealization.

Arena # 1: ... and boys futures are gone
Arena # 1: ... and boys futures are gone
Arena # 1: ... and boys futures are gone, Structure # 1
Arena # 1: ... and boys futures are gone
Arena # 1: ... and boys futures are gone
Structure # 1
Arena # 2: I fuck with the vision fam let’s link im tryna build
Arena # 2: I fuck with the vision fam let’s link im tryna build
Arena # 2: I fuck with the vision fam let’s link im tryna build
Arena # 2: I fuck with the vision fam let’s link im tryna build
Arena # 2: I fuck with the vision fam let’s link im tryna build
Arena # 2: I fuck with the vision fam let’s link im tryna build
Arena # 2: I fuck with the vision fam let’s link im tryna build



Photography: Flavio Palasciano

Official Opening / Inauguration

6. 6. – 18. 6. 2017

Samuel Bich, Jennifer Gelardo, Hannahlisa Kunyik, Irina Lotarevich, Phelim McConigly, Saskia Te Nicklin, Flavio Palasciano, Sophie Thun


Emotional relation, affectivity and memory of a space meet questions of structure of the architectural and institutional space.

The exhibition Official Opening / Inauguration seeks for the bare and hidden outlines of art institutions, by focusing on the spatial and historical implications of Foundation. In its ambivalence of being a project space as well as a space for living, it explores the possibilities and interdependencies offered by these two distinctively defined conceptions. Within the first show the incorporation of institutional parameters, the act of inauguration, is celebrated in a festive moment: After the first hour of waiting in the courtyard, the guest of honor finally cuts the ribbon and the show is opened in an performative act.

Inside institutional representation is further anticipated by the inscription of a white cube, but also questioned through generating frictions and voids within the continuum of the space. Contrasting materials exaggerate the moment of staging and provide polarities throughout the exhibition. The setup provides a structure and institutional invocations to house the eight artistic practices of the Official Opening / Inauguration, which derive from different origins but often coincide on common grounds.

In this sense temporal relations are not only understood as part of a spatial momentum, but further formulate questions of affectivity, emotional relations and memory. Desire serves as motor for personal interest and often leads to modifications of ones surrounding. Those efforts touch the spheres of the personal as well as the institutional and therefore provide the poles in which the show oscillates: an overly of intimate and affective readings with structural and spatial narratives.

The articulation of a vehicle to explore modes of representation starts to stress moments of staging invoked within the show. This conception opens up to methods based in transgression, inscription and camouflage. Therefore shifts in meanings and slippages of space and time are performed on different levels throughout the show. The artworks in the show link to these parameters and transfer them into their own self-referential realm: A possibility for further explorations is laid through the first show Official Opening / Inauguration.

Hannahlisa Kunyik: Ein Day Off in der Arena ästhetischer Grundsatzfragen, 2015–2017; Irina Lotarevich: St. Gallen Confessional, 2016, Heart of V. / A Codependent System, 2017; Flavio Palasciano: Untitled / Screen, 2017
Hannahlisa Kunyik: Ein Day Off in der Arena ästhetischer Grundsatzfragen, 2015–2017; Irina Lotarevich: St. Gallen Confessional, 2016, Heart of V. / A Codependent System, 2017; Flavio Palasciano: Untitled / Screen, 2017
Irina Lotarevich: St. Gallen Confessional, 2016; Flavio Palasciano: Untitled / Screen, 2017
Samuel Bich: Exhibitions, 2017; Hannahlisa Kunyik: Ein Day Off in der Arena ästhetischer Grundsatzfragen, 2015–2017; Irina Lotarevich: Heart of V. / A Codependent System, 2017; Phelim McConigly: Footnote, 2017; Flavio Palasciano: Untitled / Screen, 2017
Samuel Bich: Lobby, 2017; Phelim McConigly: Footnote, 2017; Flavio Palasciano: Untitled / Screen, 2017; Sophie Thun: Layer 1, 2017
Saskia Te Nicklin: Untitled, 2017; Flavio Palasciano: Untitled / Screen, 2017
Phelim McConigly: Footnote, 2017
Phelim McConigly: Footnote, 2017; Samuel Bich: Does Andy Warhol make you Cry?, 2017
Samuel Bich: Untitled, 2017; Saskia Te Nicklin: Untitled, 2017
Samuel Bich: Untitled, 2017, Does Andy Warhol make you Cry?, 2017
Samuel Bich: Does Andy Warhol make you Cry?, 2017, Bar Luce, 2017; Sophie Thun: Layer 1, 2017
Samuel Bich: Does Andy Warhol make you Cry?, 2017; Flavio Palasciano: Save that Luck for Later, 2017
Hannahlisa Kunyik: Ein Day Off in der Arena ästhetischer Grundsatzfragen, 2015–2017; Saskia Te Nicklin: Untitled, 2017
Jennifer Gelardo: Untitled, 2017; Sophie Thun: Layer 1, 2017
Hannahlisa Kunyik: Ein Day Off in der Arena ästhetischer Grundsatzfragen, 2015–2017
Jennifer Gelardo: Untitled, 2017
Samuel Bich: The Foundation, 2017
Saskia Te Nicklin: Untitled, 2017
Sophie Thun: Layer 1, 2017
Saskia Te Nicklin: Untitled, 2017
Flavio Palasciano: Untitled / Screen, 2017
Phelim McConigly: Footnote, 2017
Flavio Palasciano: Save that Luck for Later, 2017
Samuel Bich: Exhibitions, 2017
Irina Lotarevich: Heart of V. / A Codependent System, 2017
Sophie Thun: Layer 1, 2017
Saskia Te Nicklin: Untitled, 2017
Sophie Thun: Layer 1, 2017



As part of the show the edition A Sentence Beginning was launched, which consists of works by:

Brishty Alam, Minda Andren, Samuel Bich, Olivia Coeln, Pablo Ehmer, Maximilian Engel, Philipp Farra, Jennifer Gelardo, Jojo Gronostay, Barbara Hainz, Sebastian Hoch, Alexander Jackson Wyatt, Hannahlisa Kunyik, Irina Lotarevich, Mattia Macchieraldo, Phelim McConigly, Bruno Mokross, Flavio Palasciano, Doris Panholzer, Ivan Pérard, Sophie Pölzl, Cæcilie Heldt Rønnow, Lisa Schwarz, Michaela Schweighofer, Nora Severios, Marina Sula, Saskia Te Nicklin, Sophie Thun, Johanna Charlotte Trede, Dan Vogt, Arnaud Wohlhauser, Edin Zenun

Photography: Flavio Palasciano

This exhibition was kindly sponsored by Wien Landstraße.