~fluc_wanne
IN DER KUBATUR DES KABINETTS- der Kunstsalon zeigt
Mittwoch, 12. AugustFOR THE DAYS YET TO COME
w/
Louise Deininger
Firas Shehadeh
Rodrigo Suárez
Mario de Vega
Curated by Lorena Moreno Vera
Opening 20.00 FLUC Marina Bar / Entrance Kaiserwiese
FB_EVENT: 
For The Days Yet To Come
Lorena Moreno Vera
(Death was in him, under him) The earth itself was uncertain, unreliable. The enduring, the reliable, is a promise made by the human mind.
Ursula K. Le Guin, The Dispossessed, 1974
The idea of keeping track of time is an illusionary mechanism to ensure a comprehensible transit between past, present, and future. We build such sentences to convince ourselves about this transit, and therefore, of those things we have put behind and “progressed,” but that actually we have just chosen to forget or simply rename. Time relies too much on amnesia.
The utterance of the promise of the days yet to come has become repetitive, almost numbing to the point of exhaustion, for this same sentence wears out in this game between uncertainty and expectation. We long for a new normality that, in the manner of tabula rasa, will come and erase all our burdens, instead of recognizing the atrophy underlying the very notion of normality.
These days that have already come have served to put out all that we have been neglecting; the abuses, and our blindness. It is ironic how something infimum, almost imperceptible like a virus or a spore, renders visible such a magnitude of collapse.
The thing about working with time, instead of against it, is that it is not wasted. Even pain counts . 1)
_
1)K. Le Guin, U. (2002). The Dispossessed. London, UK: Gollancz.
ABOUT THE ARTISTS
Louise Deininger (b. Uganda) Lives and works in Vienna and Uganda. Her artwork focuses on consciousness, spiritual science, human, self and personal development, self-leadership, critical thinking and identity. Presenting subjects as variable as the effects of armed conflict, and self-leadership, Louise´s work renders familiar visual signs, and use different materials from painting to film and performance. Her practice is mainly experiential and research based.
Firas Shehadeh (b. 1988, Amman) is a Palestinian artist based between Vienna and Amman, His work grapples with the understanding of home and identity in a post-internet age, navigating experiences of exile and displacement. He is interested in post-colonial effects, technology, and history. He holds a Master of Fine Arts from the Akademie der bildenden Künste Wien.
Rodrigo Suárez (b.1979, Mexico City) Lives and works in Mexico City. Graduated from the Escuela Nacional de Artes Plásticas, UNAM. He has participated in different sem-inars such as `Border Practices´ at Border Cultural Center, `Semillero Caribe´ at Cráter Invertido, `Ciudadanía y Espacio Público en Tiempos del Horror´ at Museo Memoria y Tolerancia. In 2004, he was awarded the prize of the Rector of Maria Sklodowska Curie University in Lublin at the 7th International Art Triennial, Majdanek, Poland. From 2009 to 2010 he was a scholarship holder of the Young Artists Program of the National Fund for Culture and Arts (FONCA). He was artist in residence at the Centro de Artes San Agustín (CASA), Oaxaca in 2016. He has worked for Fundación Jumex and Fundación Casa Proal in the production of works by different artists such as Jean-Luc Moulène, Jim Lambie, Sol LeWitt among others. In 2018 he presented his work in Zona MACO foto 2018 at the Troconi-Leytaf gallery and in 2019 the solo show `Yergue´ at Radio 28, Mexico City.
Mario de Vega (b. 1979, Mexico City) Lives and works in Berlin and Mexico City. Ma-rio de Vega´s work is contextual, embracing the tension between documentation and performativity. Induced situations, scripts, dramaturgies, remains of actions, events, and situations producing ambiguous relations between objects and spaces.
He has been guest artist and lecturer at Universität der Künste Berlin, Rijksakademie Amsterdam, Internationales Musikinstitut Darmstadt, Technische Universität Berlin, Ecole Nationale Supérieure des Beaux Arts de Paris, Kyushu University, écal, Universität für angewandte Kunst Wien, among others.
His work has been exhibited in Mexico, North America, Chile, South Africa, India, South Korea, China, Russia, Japan and around Europe.
Since 2020, Mario de Vega is Professor for Sound at Kunsthochschule Kassel.
ABOUT THE CURATOR
Lorena Moreno Vera (b.1986, Mexico City) Lives and works between Mexico City and Vienna. She is a senior student of the Master in Critical Studies at the Akademie der bildenden Künste, Vienna and a recipient of the Grant for Postgraduate Studies of the Jumex Contemporary Art Foundation, Mexico. She has curated diverse exhibitions and projects like The Captives (2019, AT), What Is Past Is Prologue (2019, AT), Espacio Compartido / Tiempo Limitado (2019, MX), Here & Elsewhere (2018, MX), and co-founded in 2009, Latitud Arte Contemporáneo, a curatorial program that sought to explore other conditions of producing, exhibiting and influencing the urban context.
She has constantly been working in exchange with the Austrian and the Mexican art scene with artists like Hermann Nitsch, Marko Lulic, Eva Engelbert, Arturo Hernández Alcázar, among others. From 2017-18 was the deputy director at MARSO Gallery, Mexico. In 2016 she collaborated and published together with Michel Blancsubé the book La revuelta de los ángeles salidos del limbo (Accionismo vienés), El accionismo vienés y los austriacos (Editorial Ñ) as well as the 150 Action of Hermann Nitsch as part of Dark Mofo Festival in Hobart, Tasmania.
For three years she was curatorial assistant at Jumex Contemporary Art Foundation in projects like Sinfonía für Mexico City by Hermann Nitsch, Inhabiting Time, and SUPERFLEX: The Corrupt Show and The Speculative Machine.
mit freundlicher Unterstützung von BUNDESKANZLERAMT und WIEN/Kultur
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