Exhibition Image Counter Image

10.06 – 16.09.12

Haus der Kunst, Munich

“This year Haus der Kunst marks the 75th anniversary of its public opening. This anniversary gives us the opportunity to reflect on the historical legacy of the museum, especially on the building as an icon of ideological power; on the various positions of art through its history and the stories of what it is today.” (Okwui Enwezor)
In 2012, Haus der Kunst opens its doors for its 75th year. At the same time, it looks back upon its 20-year existence as Stiftung Haus der Kunst München GmbH. As part of the programs marking the 75/20 anniversary, two major exhibitions opened on June 9: “Image Counter Image” and “Histories in Conflict: Haus der Kunst and the Ideological Uses of Art, 1937-1955”. Occupying the vectors where global media industries, artistic reflection, and ideological power intersect, the two exhibitions explore the complex zones of mediatized image regimes and artistic propaganda in shaping public opinion. “Image Counter Image” focuses on the critical analysis of media images of conflict situations and wars. “Histories in Conflict” reflects on the complex and complicated historical process that created Haus der Kunst as we now know it and illuminates its history in an international context.
Accompanying the exhibition openings on June 9 a two-day symposium took place, which brought together some of the sharpest critical thinkers on the historical and theoretical issues surrounding the exhibitions.

Media coverage has changed significantly in the last two decades. While the media image of the First Gulf War was based on a memorandum that advised units of the United States military to channel information flow to serve the military operation’s political objectives, the images of the attacks on the New York World Trade Center on September 11, 2001, were transmitted on all possible channels. They showed a worldwide audience its own – and global – vulnerability. Through the Internet and, more recently, via Web 2.0’s social media, communication channels have been expanded to include opportunities for direct peer-to-peer exchange. Because of their decentralized structures, these channels are difficult to control and are used as an alternative source of reporting on political events (even if the role of social media in crisis remains controversial). The question remains who, in this changing media landscape, tries to secure control of both the production and interpretation of the content, and what purpose it serves.

The show exhibits works by bureau d’études, Nin Brudermann, Harun Farocki, Omer Fast, Hans-Peter Feldmann, Téo Hernandez, Monika Huber, Alfredo Jaar, Adela Jušić, Langlands & Bell, Radenko Milak, Trevor Paglen, Thomas Ruff, Roy Samaha, Wilhelm Sasnal, Ahlam Shibli, John Smith, Sean Snyder, Thomson & Craighead, and Jasmila Žbanić.

As part of the programs marking its 75th anniversary, Haus der Kunst also shows the exhibition “Histories in Conflict: Haus der Kunst and the Ideological Uses of Art, 1937-1955”. Occupying the vectors where global media industries, artistic reflexivity, and ideological power intersect, the two exhibitions explore the complex zones of mediatized image regimes and artistic propaganda in organizing public opinion. A two-day symposium dedicated to the historical and theoretical issues surrounding the exhibitions took place on June 9/10.

Image

Adela Jusic, The Sniper, 2007

http://www.hausderkunst.de/index.php?id=716&L=1

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