January 14th, 2015

Vzszhhzz” at 186f Kepler


Artists: Anne Imhof, Kerstin Brätsch, Anne Dressen, Anina Troesch, Jeanne Graff, John Armleder, Carissa Rodriguez, Calla Henkel and Max Pitegoff, Marie Karlberg, Emilie Ding, Isabelle Cornaro, Peter Wächtler, Sturtevant, Daniel Baumann, Llewellyn Reichman, Olga Pedan, Samon Takahashi, Heike Karin Foell, Lena Henke, Emily Sundblad, Vidya Gastaldon, Matthew Lutz-Kinoy, Mai-Thu Perret

Venue: 186f Kepler

Exhibition Title:  

Date: June 18 – 20, 2014

186f Kepler: Clifton PalacePho Viet Huong, Astro 5Tes Yeux

Press release and link available after the jump.


Image courtesy of 186f Kepler. Photo by Calla Henkel and Max Pitegoff.

Press Release:



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Samon Takahashi – Anarchives | 1993 – 2014
All mixtapes and radioplays recorded live on various occasions: Epsilonia Radio Show – Radio Libertaire – Paris | OuUnPo sessions – Athens – Tokyo – Yokohama – Porto – Beirut – Belgrade | Radio Arte Mobile, Rome | Politique 0 – Paris | Mobile Radio – São Paulo | Vision Forum – Stockholm – Norrköping |



final visitenkarte art basel 2014

Thoughts around 186f Kepler

In some ways the exhibition space or the fair stall is already somewhat dislocated from the city in which it exists and is linked more to past present or future incarnations of itself in other points throughout the world. Those spaces linked together create a new kind of virtuality that could be understood as a continuous interiority where one loses track of time and space. What links these spaces together is maybe the names by which we call them and perhaps also the people that we meet within them. People who might work there or be passing through those places in the same rhythm as we do.

So does 186f Kepler seek to reproduce this kind of existence and its undefined borders in a more self-conscious way? Self-conscious in the sense of proposing a critique or offering alternatives for how such a virtuality could be understood to become somehow productive in new and not yet imagined ways? Does a static architecture propose a model for an art space that is out of sync with the reality of this new world? In thinking about how it can be reconceived as a placeless kind of places, or an every/place or every/where what is it possible to gain? So in a sense, is the project attempting to replicate (in perhaps a modified way) an existing condition by seeing how its application onto an older structure transforms that structure? Or is there something else?

This collage of places would seem to talk about a different kind of world, one in which even the repetition of the same, or the noise of a kind of sensory excess still offers moments of pause or of recognition. The anonymity or flatness of the places we travel through (and seemingly do not see or hear or feel) are challenged by coincidences and contiguities of time, space, people and memory, that make it through the screen drawn in front of us, through the haze. So is kepler186f about finding/creating/making potential these moments? About linking a series of spaces throughout the world, not only by naming them as one space, or telling us that they belong to one institution, but instead by offering interventions that make potential relations/coincidences or continuities that exist in ways that we may not have even imagined? So is the time and place for production and communication intended to remain unclear? Both simultaneous and delayed? 186f Kepler becomes then a new planet from where a heightened sensibility makes it possible to observe and understand spaces thousands of miles apart as being intimately associated.

Sony Devabhaktuni & Jeanne Graff

Link: “Vzszhhzz” at 186f Kepler

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