Jasmina Cibic is participating in the Spring Exhibition 2016, taking place in Kunsthal Charlottenborg in Copenhagen.
The Spring Exhibition is one of Europe’s most important juried exhibitions, and since 1857 has been one of the annual highlights of Charlottenborg’s exhibition programme.
This year The Spring Exhibition received entries from 818 applicants, of whom 117 artists from around the world have been given the opportunity to exhibit for an international audience. Behind the total of 174 works are participants with very different backgrounds and experience - some of them with a long professional track record, others talented newcomers; true to tradition the exhibition presents a wide range of art, architecture and design works.
The works in The Spring Exhibition 2016 are selected by an international jury consisting of artist FOS (DK), artist Molly Haslund (DK), designer Anton Alvarez (SE/CL), architect Anders Abraham (DK), and curator Thorsten Sadowsky (CH/DK).
(Excerpt from the exhibition announcement, Courtesy of Kunsthal Charlottenborg, Copenhagen.)
Jasmina Cibic's work featured in The Spring Exhibition 2016 are the installation Spielraum: Tear Down and Rebuild and the video The Pavilion.
Tear Down and Rebuild is the third chapter from the series Spielraum. Jasmina Cibic’s installation reworks two spaces: the scenography of the cinematic space for the viewing of the film along with its seating/sculptures and a performative installation in its antechamber, a space covered in its entirety with representations of a fictitious landscape that the artist has composed from numerous photographs drawn from the archives of Josip Broz Tito’s personal photographers. Within this composite landscape, Cibic displays quotes from various political speeches on nation building. During the exhibition, a performance will take place, where a group of artists will be gilding this series of positive affirmations as the final act of staging the Gesamtkunstwerk Tear Down and Rebuild.
Cibic’s new film features an all-female cast and frames its four characters (a Nation Builder, a Pragmatist, a Conservationist and an Artist/Architect) as an extension of the architecture and its fittings – formally completing the empty stage, as sculptures rising from the scenographic background, the architecture itself. The film’s dialogue is composed from quotes drawn from various political speeches, debates and proclamations on iconoclasm of architecture, art and monuments; the language that endorsed demolition and redesign, which was to aid the creation of new displays for ensuing nation-states or ideological positions throughout the 20th and 21st centuries. The sources for the script include amongst others: Regan’s speech on the Berlin Wall, Prince Charles’s 1984 address at RIBA and Isis bloggers’ proclamation on the demolishment of temples. As the film’s narrative unfolds, the viewer is a witness to the final decision to demolish the fictitious building, the image of which is constructed in the spectator’s imagination through a collage of quotations on diverse, ideologically contrived and historically charged buildings, monuments, walls etc. that were to be or were knocked down - pointing to the universality and timelessness of the paradox of national and ideological representation and its icons
The video The Pavilion, instead, presents the reconstruction of the lost pavilion of the Kingdom of Yugoslavia built in Barcelona for the 1929 World Exposition - a time when finding a new visual expression for the future was central to the European political debate as well as the beginning of soft power as we know it today.This temporary structure was designed by the Serbian architect Dragiša Brašovan and, according to legend, received the first prize at the Exposition. Due to political intrigue it subsequently lost its first place to the German Pavilion and its architect Mies Van der Rohe. Within her research, Cibic attempted to retrace the building’s design through institutional and private archives, reconstructing a model of the original in a scale 1:7.
In the video, this model is built by a group of five performers, as a female voice-over presents a description of the artist’s methods in retracing of the lost pavilion, as well as her gap-filling of the archival evidence. Cibic namely draws upon other subjects, which were also designed to represent various authoritarian visions of desire in the same period.
By colliding a building that was to represent a nation state, one that was supposed to house exotic desire and a vehicle of national military control, Building Desire points to the optics of authoritarian construction of towers of control and their soft power mechanisms.
10.03.2016 at 7 pm
Exhibition organized by:
Jasmina Cibic: Spielraum, Tear Down and Rebuild, Photography: Ivan Petrović
Jasmina Cibic: production stills from The Pavilion, single channel HD video, stereo sound, 6 min 43 sec, in loop
© Studio Jasmina Cibic