VOLKSBÜHNE
Berlin
An Evening with Kasia Fudakowski and Company: Brexit (TBC)
30.03.

Performance
English

Brexit – To Be Confirmed.

What might the future hold in these uncertain times? What kind of relationship with Europe can the British hope for? Deal or no deal, how do we move on together?

On the first day of the UK's official intended departure from the EU, Kasia Fudakowski invites you to the Grüner Salon for a therapeutic circle to air grievances, mend lost and worn relationships and float questions left in Brexit's wake. Employing a uniquely British stoicism to build a raft of reconciliation on which to drift into our common ship-wrecked future, Fudakowski and company dare to ask what might be a more creative response to the toxic deluge of steaming chaos that the 2016 referendum released. The support group meeting will be followed by a sing-a-long, and a drinking to sorrows.

Fudakowski collaborates with Will Evans and Bernd Grether.

Kasia Fudakowski is a visual artist, born in 1985 in London, and studied at The Ruskin School of Drawing and Fine Art, Oxford University before moving to Berlin in 2006. She works with sculpture, text, video and performance and often employs humour, awkwardness and irony across her mediums. Her recent work has included a dystopian film project that imagines words as a limited environmental resource (Word Count, 2016-ongoing) and an exhibition split in half that leads each viewer into a different scenario based on their initial answer, in reaction to the unknown consequences of the Brexit referendum (Double Standards, 2017, ChertLüdde Gallery Berlin). She has shown her work in solo and group exhibitions worldwide, including at Kunsthalle Baden Baden, Lodos Mexico City, and Kunstmuseum St. Gallen and more.

Will Evans (b.1979) is a writer from the UK, living and working in Berlin.

Bernd Grether (b.1980) is a German graphic designer, living and working in Berlin.​

Photo: Kasia Fudakowski


30.03.19, 21:00
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Past Activities

An Evening with Cally Spooner and Jesper List Thomsen

For A Talk in Two Parts with Painting Jesper List Thomsen and Cally Spooner present three components that each in their own way speak of the capture and potential release of a body in our current socio-political climates.

Blackbirds is a text by Jesper List Thomsen that stages a relationship between body, image and language. It presents the reader with a ‘duration’ that is as elaborate and testing as the reality it attends to and depicts. Blackbirds finds its agency in the image deposits and semantic tissue of our present cultural and political moment.

Cally Spooner will present a talk of loosely connected themes to investigate ‘captured time and stagnation’, as it may manifest in a subject’s psychology, in financialised cities, in surveillance capitalism and in the stagnated muscles of a body. In searching for under-currents of hidden or disavowed temporalities, labours and ‘life drives’, the talk asks how time and stagnation might be undone. Through maintenance, resilience, patience, duration, stillness, trust and in-action the talk speaks of a desire for the unexpected, both in form and content, as well as calling for a capacity to better identify the difference between what is alive and dead.

Jesper List Thomsen’s painting xy9d8gv features a nine meter long line, a motive drawn indiscriminately, over and over. Its length is that of the average human digestive tract, starting from the mouth and ending at the anus. This first significant feature, to form on the human embryo, manifests in reverse to the function it later comes to serve. xy9d8gv measures 80X140cm., and is made from wood, primed canvas, marker-pen, enamel, PVC and acrylic paint.

A Talk in Two Parts With Painting was originally performed on the Greek island Nisyros as part of Making Oddkin, curated by Nadja Argyropoulou.

Cally Spooner is an artist based in Athens. Recent solo shows include Everything Might Spill at Castello di Rivoli, Turin (2018); DRAG DRAG SOLO at the Centre d’Art Contemporain Genève, Geneva (2018); Soundtrack for a Troubled Time and Notes on Humiliation at Whitechapel Gallery, London (2017); And you were wonderful, on stage at Stedelijk Museum Amsterdam (2016); On False Tears and Outsourcing at The New Museum of Contemporary Art, New York (2016) and Vleeshal, Netherlands (2015). Spooner’s work was included in recent group exhibitions at NTU Centre for Contemporary Art Singapore, Singapore (2018); V-A-C Foundation, Moscow (2018); FRONT International: Cleveland Triennial for Contemporary Art, Cleveland (2018) The Serpentine Galleries, London (2017); Kunsthaus Zürich, Zürich (2017); Scottish National Gallery of Modern Art, Edinburgh (2016); Aspen Art Museum, Aspen (2015); and REDCAT Gallery, Los Angeles (2015); among others. She has also curated several exhibitions and events, including Micro-Composition at San Serriffe, Amsterdam (2017); A Social Body Event at The Serpentine Galleries and Central Saint Martins, London (2017); and An Intimate Symposium on Maintenance, Whitechapel Gallery, London (2017).

Publications by Spooner include Scripts, published by Slimvolume Press (2016) and Collapsing in Parts, published by Mousse (2013). A monograph of her work published by Museo MADRE, Naples and Vleeshal, Netherlands is forthcoming in 2019. Spooner will open a solo exhibition at the Art Institute of Chicago in 2019.

Jesper List Thomsen is an artist and writer based in Athens and London. Recent exhibitions and performances include BASE BASE, Gasworks, London; A table made again for the first time, Bureau des Réalités, Brussels; A Social Body Event, Serpentine Gallery, London; Hollis and Money, ICA, London/ Künstlerhaus, Stuttgart; Speak Through You, Hot Wheels Projects, Athens; Hand and Mind, Grand Union, Birmingham; The boys the girls and the political, Lisson Gallery, London; One Hour Exhibition, South London Gallery, London.

A monograph of his writings was published by Juan de la Cosa/John of the Thing, Mexico City/London in 2018.

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