Scholarship recipients from the Vordemberge-Gildewart Foundation exhibition to KIT. The works of the twelve contributors combine film, video and performance.
Singer, film and media artist Harkeerat Mangat, creator of the Mitspiel-Theater on Fürstenplatz, recently received the Vordemberge-Gildewart scholarship worth 60,000 Swiss francs. With his “Fürstenplatz” project, he created a sense of community in a neighborhood where people otherwise live side by side rather unknown. Without being involved in the game himself, he lets both adults and children make their own creative decisions. As a director, he brought people together, but remained in the background as a stranger, satisfied with the role of arranger. He is now showing the 30-minute film at the KIT, Kunst im Tunnel.
Mangat is one of twelve young participants in a competition that the Vordemberge-Gildewart Foundation has launched for the Düsseldorf office. His film premiered at Hombroich Museum Island in the summer. A cinema wall has now been erected at the rear of the narrowing tunnel tube. Visitors can relax on deck chairs in front of the projector while watching the film. A mat for the little ones is at the feet of the guests and a pee house is at the back for the essentials. Everything feels like everyday life, and at the same time it makes the difference between the lively activities on Fürstenplatz and the sadness in KIT, where probably no child has ever been lost and where it is too uncomfortable to relax. The institute, which belongs to the Kunsthalle, is not suitable as a reflection of normal life simply because of its spatial atmosphere.
The works of the other eleven exhibitors reach visitors even less frequently, precisely because their works often begin with films, videos and performances, but there is no examination of the living image in such a gallery. Paul Czerlitzki engages in an exciting game of image and copy, but the result cannot be deciphered by the impartial viewer. Eliza Ballesteros presents a hunting room with silicone stools, whose legs are shaped like a deer in the forest, and a wardrobe without a door. The staging remains vague, compared to the hunting room of Paloma Varga Weisz, who satirized the environment in the Obersalzberg restricted area with taxidermy and lascivious figures.
Murat Önen’s painting, a graduate of the Dresden Academy of Art and now preparing to teach art in Düsseldorf, appears slightly ironic. These are male bodies that are passed through a meat grinder by a character with a large chest. The hero’s pose seems linked, the motif as a gloss on feminism in art. But this is confirmed by Linda Skellington, who in a somewhat teasing way spreads out a pirate island with lots of greenery on the ground, since she wanted to be a pirate from an early age. But the dream hangs in the photo. Ji Hyung Song from Korea sets up computers so that visitors can search for the lucky talisman for themselves. Mira Mann performed on a large revolving stage full of verve and with many mimic gestures, and she let herself be filmed. We see the film, but the real image of life has disappeared because the revolving stage remains empty.
One would like to see Björn Knapp more, because he also hides his approach. Scheibitz’s master’s student uses photography as an impulse and stimulus to dissect and fragment photographs and then translate them into color. The viewer now tries rather helplessly to find the way of the body depicted by the abstract play of colors.
Information KIT, Kunst im Tunnel, Mannesmannufer 1b, until February 13, 2022. Opening hours: Tuesday to Sunday from 11:00 to 18:00. The selection of artists under 35 was made by a jury. Each participant received 2,000 francs, the main prize being 60,000 francs.