NO.HOT_L (2022 – ongoing)

Artistic interventions in temporary travel spaces

NO.HOT_L is a transdisciplinary artistic intervention series temporarily accomodating in holiday apartments and other transitory living spaces. Performative, installative and collaborative artistic interventions developed on site deal with phantoms and questionable aspects of “travel”, “home” and “work”. Amina Handke as artist and curator uses given space and furniture to create communicative stagings, recombinations and present-tations in the no/wo/man’s land between private and public.

Comparably, definitions of authorship are being expanded, as more artists and art related persons based both on-site and abroad are invited to collaborate and contribute. The ensemble of works, exchange and processes is the declared aim and product: The apartment is the exhibition, the exhibition a film setting, and the film is shown in the apartment. The cast of “artists” and “audience” is overlapping while exchanging informally in the Salon and connecting simultaneously with other places and times via portable devices and the internet wormhole.

Site specific, transdisciplinary, collaborational and communicational micro events

June 15 – 19, 2022

DFBRL8R GALLERY & ZHOUB ART FOUNDATION

ISTANBUL 22 EDITION


October 6-19, 2022

ISTANBUL BIENNALE PARALLEL EVENT IN COOPERATION WITH PASAJ

BERLIN 23 EDITION


GOATS AND MONKEYS (2021)

two screens, synthetic material, mirror, printed paper, lacquer. 2x41x48

The outdated technical feature of “snow” illuminates objects on the screen’s surfaces as burnt-in images that are not digital anymore, mirroring shadows of our media perception. The title – a quote from OTHELLO – refers to ghosts of the (also outdated forms of) theatre: its audience, and to depreciation of animals and life in general.

THE HANDKE COLLECTION (1999 – ongoing)

ARTIST BOOK (edition of 500, 2001)
EXHIBITION FORMAT (2000; 2019)

The Handke Collection is an unfinished self portrait consisting of countless objects, memories, remains and works by Amina Handke and other people.

The artist book publication of the Handke Collection assembles texts and reproductions of artistic works, correspondences, photographs, newspaper clippings, video stills and notes which join in a picture story that recounts life and work of the artist, stage designer, ex- tv station
co-owner and DJ Amina Handke.

Including texts, fragments, pictures, correspondences and findings by and with Andrea Pesendorfer, Annette Messager, Erich Joham, Max Goldt, Tobias Urban, katsey, Thomas Rottenberg, Hermes Phettberg, Peter Handke, Ruth Ehrmann, Paul Divjak, Wolfgang Kopper, Yves Chaudouet, H. M. Enzensberger, Maria Ziegelböck, Maja Stefanovic and many others.

APPROPRIATED BEGGARS (2013)

Seven channel video installation (HD, colour, sound)

Nine persons – partly performers, partly beggars in real life – portray beggars, themselves or themselves as beggars. The definitions of professional portrayal and authentic situations blur facing the impossibility of recognizing “real” adversity by observation. How must beggars – comparable to the demands of other working environments, not just in performing arts – portray poverty in order to fulfill the expectations attached to their role? Is the authenticity of the portrayal more relevant than the authenticity of the adversity?

Restrictive dealing with beggars and poverty determines public discussions in the media and politics.  Here a tenor toward symptom elimination and conspiracy theories (“Beggar mafia”) appears to mark a climax in the helplessness regarding consequences of worldwide injustice.

Emotions evoked by the adversity or helplessness of the “other” can be observed and reflected in a “protected space” – that is, time- and spacewise shifted – as we do not have to react immediately to encounters with present persons.

This work, based on Kutlug Ataman’s video installation Beggars, is an homage to the artist and can also be regarded as an ambiguous commentary on the controversial and complex discussions about copyright law and art. Inconsistencies between rules protecting intellectual property and the referentiality based art production system are made clear by deliberately referring to the idea as juristically not protectable basis of artistic work.

In this work, referentiality as a basis of cultural developments is being concatenated with patterns of social phenomena and structural conditions of artistic production.