01:00So, as you can see, this exhibition is a format exhibition.
01:06All the presented works are ring binders made by artists.
01:11It's very abstract, the idea of how an artist works, and the ring binder usually stands
01:18for office work, so it's like the image for what people think of what work looks like,
01:24and I really like that a lot of artists, or a few artists, use the ring binder also as
01:30like some artistic medium.
01:32And you see in this show that they use it very differently, as some kind of playful
01:38field where you can rearrange stuff easily, maybe you collect your material for collages
01:45or as reference for paintings, or as a preparation for an exhibition, or for a very personal
01:52system and logic.
01:53So this is an example for a binder that is completely a preparation for one project.
02:00That was a project that she did with this shopping house called Nordstrom in New York,
02:05and here it's titled Bling Installation, it's also one of the few binders that has a cover.
02:11And in here you see all the material she collected in the preparation of the show, so sometimes
02:18it's reminders for herself, it's notes.
02:21Here's even some stickers that are left over to repair the pages, this one fell off here.
02:28And it starts with the entrance to the shopping house, and as you can see it also has some
02:38categories here.
02:40I really like this moment, bling blings, that's a part of the show where she produced big
02:46ornaments for the wall, like huge big ornaments, and here you can see how she came to find
02:53these ornaments.
02:54So this is a screenshot that she took of another video, and she circled this ornament that
03:00she liked of a wallpaper on the wall, or what I really like is a printout of a gift, some
03:10kind of like a flipbook.
03:12So this gift starts with one pixel, and then later becomes these sparkles, and then on
03:20other pages you see she circles the moments that she likes, and then later reproduces
03:26as big decorative ornaments, like here, pixelation.
03:35But also material studies, like this one, or on a later page you even see some textile samples.
03:55So this is some cutouts, some stencils, some already printout forms and shapes, and if
04:02you see the whole show then it of course makes sense, so there's furniture, there's
04:05big printouts, there's ornaments, there's a video, or a note to herself that she had
04:15during the preparation of the show, posted to her door, think poppy pop.
04:22This was a long research of trying to figure out who's working with Binders, Maggie I knew
04:27because we did the show at Kunsthalle this year together, and I knew she was working
04:32with Binders in preparation.
04:34Some of them I knew from studio visits, some of them were my friends, but then also some
04:39were pointed out for me, and then at some point it becomes selective perception, so
04:47all of a sudden you see Binders everywhere, not everywhere, but yeah.
04:54But it is a very intimate format to most of the people because it's not a resolved
05:02artwork, and that's why also some people disagreed or didn't want to be shown in the show.
05:11So my program is called Backrooms, because first I had another space, and this building
05:16has a lot of side spaces, you know there's a lot of institutions and galleries and other
05:20art spaces, but also spaces like this that no one knows about, and it's this huge building
05:25with a lot of separés and backrooms, and I first, Daniel asked me to work for him as
05:33a curator to do a side program for Kunsthalle, with events and little other hybrid formats
05:38that could show maybe more concentrated, smaller shows that we can't do in the big floors.
05:46Because this space kind of grew over the years as some kind of, yeah, like for everything,
05:53so it originally was a storage space, and then it became a party location for the after-parties
06:02of the openings, and then also some artists did screenings in here of movies, because
06:06it's nice, it's dark, you don't have to enclose a whole room to make it dark.
06:12And then other curators, Katrin Bentele, who's now at Kunstverein Düsseldorf, and
06:17Matthew Hansen did a really good talk program show down here, and then when I started it
06:23was kind of clear that we would do a lot of the programming in that space.
06:27So it's very good for screenings, but also talks, concerts, performances, yeah.
06:33And I like to do these kind of projects that are about this kind of besides the art, so
06:41what's happening on the way to an artwork that is most of the time not shown or present.
06:48So the first program that I did was poetry of artists who usually work in a different
06:55kind of field, and most of them have never read it to an audience, so they read their
06:59poetry to an audience and with an audience, and also all brought on artwork.
07:05So that's how it started, and this is where we are now, so this is also part of what is
07:09happening on the side to the artworks, and most of us just see the finished paintings
07:15or videos or performances in the art spaces, but most of the time the artist is with themselves.
07:23And this is what I like about it, it's because it materializes as some kind of form that
07:29we can exhibit, and it gives us an idea of how artists work.
07:40Okay.
07:59Like to like what changed her work, that was cool, doesn't mean nothing.
08:10No last note to change the, did I say the word?
08:15That's what you said.
08:17I meant the sex.
08:19But you said work.
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