PROSCENIO
Stefan Burger – Marieta Chirulesco – Michael Franz – Tobias Kaspar – Judith Kakon
07.05.16 – 10.05.16
In this monastic village, memories of one exhibit give birth to another one.
Space is shaped through prospective mirrors.
The frame becomes a background to the mise en scène.
Actors and spectators reverse their roles on a mobile stage.
Peonies grow into a forest. The proscenium is the place where the obscene becomes a pro-scene.
In this agony of hidden beauty, TOBIAS KASPAR and STEFAN BURGER dreaming up a cinematic surprise, MICHAEL FRANZ transforms old psychedelic paintings found in the rooms, MARIETA CHIRULESCU transfigures sensual objects and JUDITH KAKON seeks an unravelment in the woods.
Studioli opens its spaces to present Proscenium, a collective show embedded in a scenography of garçonnières, a terrace and a small wood. The artists were invited to work on the space reinterpretation at various levels, from the architecture to the complex erotic creative function which this place has had over the years. Smoked mirrors, fake palm trees and colorful carpets will set the scene for these environmental interventions.
Tobias Kaspar and Stefan Burger (Tennis, 2016)
A series of photographes taken inside the Villa Torlonia park at Musolonis tennis court.
During the installation Kaspar and Burger transform the photo sequence in a pictorial screening.
Marieta Chirulescu (Finally We Laugh – William N. Copley, 2016)
A drawing by Copley, enlarged and printed on fabric for Studioli. A bed cover, a picture, a text, Paris, cowboy and lady
LOVE, XES, BUS, GIN, DOLPHIN, SHE, PILL, LASSIE, BIRDS, SOON, MEXICO, SEVEN, GONE
Michael Franz (Untitled, 2016)
A series of inkjet prints, using images already present in the rooms as backgrounds for own photographs, which vaguely suggest some kind of narration which might even be “art-related”.
Judith Kakon (Untitled, 2016)
Transforms e-mails she exchanged with Chinese online traders into carpets and stickers, installed around the small forest and the terrace. These traders are apparently all female, carrying pseudonyms as e.g. Luna Sun, Tina Tan, Mermaid Wang.
Judith focuses on their use of language and the the constructed commercial intimacy.
(Untitled, 2016) Light spot (car cover) Judith Kakon identifies with/locates an abandoned corner at the tail of an old power plant.