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[Projects are] above all the declaration of another, new future that is thought to come about once the project is executed. In order to build such a new future, one first has to take a leave of absence, a time in which the project shifts its agent into a parallel state of heterogeneous time. This other timeframe, in turn, disconnects from time as society experiences it – it is de-synchronized. Society’s life carries on regardless.
‘…every project thrives solely on the hope of being resynchronised with the social environment. And it is deemed a success if this resynchronisation manages to steer the social environment in the desired direction, while it is deemed a failure if the run of things remains unaffected by the project’s realisation.’
– Boris Groys, from The Loneliness of the Project
When expectations are defied, perhaps an audience does not actually exist. Is a resynchronization or understanding of content even necessary? Full comprehension may only revert it to information or entertainment, nullifying any hope of a different type of success. This might be along the arc of an alternative construct referred to by all content: parallel timelines inhabited by plausible, anonymous characters whose invasion into our existence is perpetually imminent. Consumers of this material actualize these other histories.
he she it / did said would brings together three young artists for whom such consideration may be individually and collectively beneficial. Each participant will adapt their still-active projects to the exhibition: two narratives from Alex Reynolds in Marta and When Smoke Becomes Fire…, Erika Hock’s architectural choreography utilizing both Shifters and fragments from Cineorama, along with a scrutinization of memory in a new project by Julie Born Schwartz.
Erika Hock, Installation view.
Erika Hock. Folding Objects, 2012
Erika Hock. Cineorama, 2011
Julie Born Schwartz. Close to me, 2012
Installation view
Erika Hock (b 1981 Dschangi-Dscher, Kyrgyz Republic) lives and works in Brussels and Duesseldorf. She graduated from the HISK – Higher Institute for Fine Arts, Ghent BE in 2013 and completed studies at the Kunstakademie Dusseldorf DE in 2009 under Professors Rita McBride and Irmin Kamp.
Recent solo show include those at Salzburger Kunstverein, Salzburg At (2015); Elbows & Knees, COSAR HMT Gallery, Düsseldorf DE (2015); The Seamstress, Her Misstress, the Mason and the Thief, Tenderpixel, London UK (2014); Kunst aus NRW, Aachen-Kornelimünster (with Jan Paul Evers) (2013); Architecture, Anyone? Het Paviljoen, Ghent (in collaboration with Clare Noonan) (2013); New Positions, Art Cologne with COSAR HMT, Cologne (2013); Rehearsal, COSAR HMT, Düsseldorf DE (2011) and CINEORAMA – Pavilion of Moving Images, Jacobigarten, Düsseldorf DE (in cooperation with Philipp Fürnkäs) (2011).
Recent group show include Un-Scene III, Wiels, Brussels BE (2015); The Catwalk, Komplot, Brussels BE (2015); Kunstverein Braunschweig, Braunschweig DE (2015); The Unfettered Gaze, Museum Marta, Herford DE (2014); Concept Store, NEST, The Hague NL (2014) ; Fair shape of the whip, Herrman Germann Contemporary, Zurich CH (2014); Labyr 1, Euroboden Hochbunker, Munich DE (2014); Combinations, LOOP Art Space, Seoul KR (2013); TRANSFER, Kunsthalle Düsseldorf DE (2013); Diplomats and Martyrs, Deutsches Haus, London UK (2013); blowing the whistle, Philara – Sammlung zeitgenössischer Kunst, Düsseldorf DE (2013); Defining Space, Die Bastei, Cologne DE (2013); Geometrie Variable, Les Crayeres, Reims FR (2013); Nam June Paik Award 2012/ Förderpreis 2010, Kunstmuseum Bochum DE (2012) and he / she / it / did / said / would, Tenderpixel, London UK (2012);
Alex Reynolds (b 1978, Bilbao ES) currently works in Berlin. She completed her BA in Fine Art at Central St Martins in 2001. Recent exhibitions include the screening of her film SPINARIO at the Fundacion Joan Miro, Barcelona (2012); A Trip to the Moon at the Bonniers Konsthall, Stockholm (2012); BOOM, a public commission organized by ENPAP, Bilbao (2012); and Texto de Sala at Galerie Crevecoeur, Paris (2012).
Julie Born Schwartz (b Chicago US, 1981, raised in Denmark) lives and works in Copenhagen. She received a BFA in Fine Art from Goldsmiths College in 2011, and graduated from the Royal Academy Schools in London in 2014. She was awarded the The Red Mansion Prize in 2014.
Beginning with periods of extensive research and thorough engagement with a social context, particular situation or material, Born Schwartz’s practice is focused on constructing large scale narratives that find their form in installations employing photography, video and sculpture.
Recent exhibitions include solo show at Union Pacific (2016); Social Choreography, Screening Programme at Tenderpixel, London UK; Posta Portae no.1, Düsseldorf DE; Lige ved Næsten, Samtidskunst med socialt engagement, Museum of Religious Art, Lemvig DK; The Red Mansion Art Prize, Slade Research Centre, London UK (all 2015); Lige ved Næsten, Museum of Religious Art, Lemvig DK; Union, Union Pacific Gallery, London; How to… Sydhavn Station, Copenhagen DK; Young Danish Photography 14, Photographic Center, Copenhagen, DK; Royal Academy Schools Final Show, London; Fulfilment Centre curated by N/V Projects, The Sunday Painter, London (all 2014). Let me play among the stars, Projektraum Lotte, Stuttgart, DE; I had an expectation that it would fade, Four Boxes Gallery, Krabbesholm Højskole, Skive, DK; Art Rotterdam 2013, solo presentation, Tenderpixel, Rotterdam, NL (all 2013); Fly me to the moon, Kunstarkaden, Munich DE; he she it/did said would, Tenderpixel, London; The Summer Exhibition at the Royal Academy of Arts, London (all 2012).