2023


The Dream
04.02. - 11.02.2023


2022


Voodoo for Fun & Profit
9.12. - 16.12.2022

I think they should break up 
18.11. - 25.11.2022


ZDRÓJ
16.10. - 23.10.22


THREE COURSE MENU
05.07 - 10.07.22

KNIFE AND COMB
10.06. - 15.06.22

THE PERFECT SMILE: SIX TEETH SHOW
07.05. - 12.05.22

“IF I WANT TO I WILL”
18.04. - 02.05.22


2021


Self-Service
10.12. - 20.12.21

BONES
20.11. - 05.12.21

facets, faces
22.10. - 31.10.21

memory is a social organ
10.09. - 19.09.21

Ungrowing
18.06. - 03.07.21

Side Chair, Artist’s Table, #4 Oval Box
04.06. - 14.06.21

HARDCOEUR
23.04. - 30.04.21

Elements of Reading
16.04. - 18.04.21



2020


side by side
24.07. - 29.07.20

ONE AGREEMENT
09.07. - 19.07.20


FAMILIENBANDE
20.03. - 13.04.20

Smells Like Team Spirit
13.03. - 15.03.20

Don't worry, there will be more problems.
21.02. - 07.03.22



2019


tracing echoes
01.11. - 10.11.19

Museum der Kritik
24.10. - 26.10.19

Sekundenbruchteile
17.10. - 20.10.19

less skin
06.09. - 13.09.19

IN ACTU. IN POTENTIA.
17.05. - 26.05.19

Soundbathing
16.02. - 17.02.19

Rips
25.01. - 30.01.19



2018


Subject:Fwd:Unknown
18.10. - 09.12.18


Subject:Fwd:Unknown / Yutie Lee
30.11. - 09.12.18


Subject:Fwd:Unknown / Tim Etchells
16.11. - 25.11.18


Subject:Fwd:Unknown / Nora Turato
02.11. - 11.11.18


Subject:Fwd:Unknown / Michal Heiman 
19.10. - 28.10.18

Gentle Heterodoxy. Social Body
and its Enchantments
30.09. - 09.10.18

Partinuscha's
24.08.18

Proud to present...
15.07. - 21.07.18


-46,08°
11.02. - 25.02.18



2017


P r e s h o w r i t u a l
28.10. - 24.11.17

SuperLiv/fe
09.10. - 10.10.17

Is the peacock merely beautiful or also honest?
01.06. - 23.06.17



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Subject:Fwd:Unknown

Michal Heiman

18.10. - 09.12.19

Curated by
Ben Livne Weitzman, Vicky Kouvaraki, Sarah Heuberger and Alice Chardenet


What does it mean to return? Can one really return, or is the river always different? What todo, once there? How do we get past the guard? Return is a transition, encounter andconfrontation of memories, shadows, abandonedworlds or ones never seen before. On the way toreturn, geographical borders need to be crossedand different times collide.The wish to return is at the core of Michal Heiman’s recent project and the starting point ofthis exhibition. A portrait, a look, a pair of hands,a woman sitting in a checkered dress, directing hereyes to the camera, across countries and centuries, set Heiman on a quest to return to a patient in a London Asylum c. 1855, Plate 34. The woman in the book,”The face of Madness. Hugh W. Diamond and the Origin of Psychiatric Photography“, is Heiman’s younger self. Countless hidden and invisible stories and gestures are covered by the visual appearance of photographs which, like the Plate 34, have fallen into oblivion. It is these hidden narratives Heiman seeks to draw attention to. But to return is a complex notion, both journey and target are unknown. In The Dress (1855–2019), a photography and video series started in 2012 and continued until today, she gathers a community of people who join her to go back to the asylum in the era of the 19th century. With each of them, she deployed a different strategy in order to return and to get past the guard. For her the guard is not only the keeper of the asylum but also the one who maylead her hand. In fffriedrich, the portraits are gathered and displayed as in a family album. This is the foundation of the bridge to the 19th century, a bridge between times, places and people. The photographs, accompanied by two video works and archival material, are all looking for potential strategies of a return. At a table placed in the middle of the space, visitors are invited to take part in an experiment, an enactment that is meant to map – through drawings of family trees and conversations – individual histories as well as strengthen our community with both the momentary surrounding and the past. It is a process of collaboration, in which intimacy and self investigation could serve as a potential strategy of return, to revisit our past and what has been suppressed. Reactivating and witnessing each other’s connections proposes an opening, a glance of the forgotten. At the same time it brings forth a potential to intensify relations in the present. 














Photography © Eike Walkenhorst
Mark