Studio for Propositional Cinema
Sep / Oct 2020
Studio for Propositional Cinema was inaugurated in 2013 with a public call to action. Through language, actions, sounds, and images, through production, publication, exhibition, and fictions, they seek to reconfigure culture from a network of ideological formations into a dialogue of hypothetical gestures. Their activities have taken many forms, including an exhibition space in Düsseldorf, various publishing projects, sustained collaborations with other artists, as well as exhibitions, realized both individually and together with a loose network of artists and cultural producers. Recent monographic exhibitions and projects were presented at Fondazione Morra Greco, Naples (2019); Kunsthalle Sankt Gallen, St. Gallen (2018); Swiss Institute, New York; Kunstverein für die Rheinlande und Westfalen, Düsseldorf (both 2017); Bonner Kunstverein, Bonn; Kunsthaus Bregenz, Bregenz (both 2016); and mumok – Museum moderner Kunst Stiftung Ludwig Wien, Vienna (2015).
Alexandra Symons Sutcliffe
Jun / Jul 2020
Alexandra Symons Sutcliffe works as an art critic, art historian and freelance curator. During her time in Munich she will focus on the format of reading groups as sites of co-operative knowledge production. Uneconomical in time and space – reading groups allow for productless work and exchanges which are anti-professional and self-defining. Symons Sutcliffe is currently working towards a PhD on British portrait and documentary photography from the 1970s and 80s at Birkbeck University and the National Portrait Gallery, both in London.
Jan / Feb 2020
Mahan Moalemi (b. 1992) is a writer and researcher from Tehran. Pursuing studies in the emerging field of Comparative Futurism, he explores possible encounters between global visual cultures and critical future studies, with a particular interest in the transformation of temporal structures and the relationship between politics and time.
Moalemi has also been exploring the movement of ubiquitous documentary materials known as “installation shots” or “exhibition views” across various platforms in order to highlight how the contemporary art world coincides with a global experience economy that relies on the rapid generation and wide circulation of such visual information as abstract currency.
He is co-editor of Ethnofuturismen (Berlin: Merve Verlag, 2018) and his writings have appeared in Art Agenda, Cabinet, Canvas, Domus, and Spike Art Quarterly, among other art journals as well as exhibition catalogs, literary publications, anthologies, and zines published in and outside Iran.