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Joannie Baumgärtner
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Biebricher Straße
12053 Berlin
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Joannie Baumgärtner
Biebricher Straße 12
12053 Berlin, Germany
Represented by:
Joannie Baumgärtner
Contact:
Telephone: +49 –151500689028
Email: info@jbaumgaertner.com
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Joannie Baumgärtner
Biebricher Straße
12053 Berlin
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"The Slide Project" is a series of installations that ponders formal education as a system for the reproduction of privilege. It employs a continuous recycling of the same object, a playground slide, to reach fundamentally different results through (de)construction.
Two sliding upwards on a frictionless incline and two in free flight is titled after a common high-school math problem. It explores the interactions of chance, location and educative success.
"The Slide Project" is a series of installations that ponders formal education as a system for the reproduction of privilege. It employs a continuous recycling of the same object, a playground slide, to reach fundamentally different results through (de)construction.
An unlikely cultural powerhouse ponders how acts of resistance, dissidence and destruction, undesirable features within formal education, can be transformed into intellectual assets.
"The Slide Project" is a series of installations that ponders formal education as a system for the reproduction of privilege. It employs a continuous recycling of the same object, a playground slide, to reach fundamentally different results through (de)construction.
Made out of innocence, crime and social alienation investigates how the figure of the outsider and the mannerisms of a non-normative life can be understood as poetic forces that lead to unexpected aesthetics and viewpoints.
A site-specific installation, executed as a verlarium for rooftop of the gallery-space. It ponders what was called the Gigantomachy of Antqiue Philosophy: the dispute between Platonic idealism and Epicurean materialism. Reflecting on it’s installation at the border of Athen’s anarchist district Exarchia, directly opposite the Athean Polytechnical University from which the Greek uprising against the fascist dictatorship emerged, it plays with the contrast of idea and matter and ponders the political forces behind mythology and how things "come to matter."
A campy film and pop-up-show project on the notion of pain and the history of medicine.
Show and movie were realized in collaboration with Clementine Edwards, with the generous support of VV Foundation, in and around Pavilosta, Latvia.
>>> MOVIE-TRAILER >>>
A combination of installation and performance, based on a research about coaching seminars for police officers and their relation to the use of excessive force.Turning around the pastoral references in these seminars, that brand officers as sheepdog, the civilian as sheep and criminals as wolves, the performance follows the structure of protest trainings and questions if safety can actually be protected by state sanctioned violence.
>>> VIDEO-WORK >>>
The installation employs the frequently used metaphor of a (nonexistent) elevator to success, a metaphor that appears in various ways during motivational seminars, often legitimizing an ableist ideology of turbo capitalism. Remembering how Clement Greenberg aligned modern art with western capitalist societies, it also ponders abstract expressionism as one original "success aesthetic".
A figure that is half human, half bird talks about the Guano-Boom in the 19th century and the emergence of an extremely unsustainable fertilizer market based on bird excrement that not only shaped global agriculture and the contemporary petrochemical industry, but also trade routes, political alliances and national territories.
Comissioned by Künstlerhaus Stuttgart for "Permanente Performance - 40 Jahre Konzil."
>>> Video-Documentation >>>
Play (is a) thing is a performance for actors and props, trying to focus on the utopian aspects that feed both, capitalist commodity fetish and child-like play. Performers, dressed like mannequins, play in a room wrapped in plastic, leaving their marks on toys and puppets made from plasticine. In an endlessly decelerated process of unboxing, the actors navigate desire, expectation and imagination as well as satisfaction, regret and disappointment.
Play (is a) thing was realized with the help of Bayern Innovativ and the production grant "Junge Kunst und neue Wege" and initially performed by Joseph Lanzinger, Denise Mathiesen & Alessia Pennavaria.
GUN SALT TURTLE SEED is an artistic-research project that speculates on queer survival and non-reproductive futures: In 1727, the Zeewijk, a ship under the flag of the Dutch East India Company, was shipwrecked on a reef near the West Australian Coast. After its crew found rescue on Gun Island, two boys were accused of homosexual acts and sentenced to death and marooned on separate barren islands nearby. They share fate with the more widely known Leendert Hasenbosch, another Dutch sailor who, accused of the same “crime”, was marooned in the Atlantic Ocean two years earlier. Left with a only handful of seeds, a pan and a barrel of water, Hasenbosch managed to survive over six months. He kept a diary that was later discovered together with a deserted campsite. The project takes the seemingly coherent end of these stories – the unwitnessed death of the protagonists – as starting point for the development of a futurist narrative: fiction is the vessel that allows to reinvent queer death as speculative futurity.
GUN SALT TURTLE SEED was realized with the help of Bayern Innovativ and the production grant "Junge Kunst und neue Wege."
Hinterm Berg... sin' a' no' Leut & Hinterm Berg is an experimental film that looks at Bavaria as an international tourist destination. In the style of a road movie, the two protagonists examine the aftermath of the pandemic and the long road back to tourist normality. The project focuses on the interplay between advertising images and real experience, the difference between mental projection and what is actually seen. While international tourism in Bavaria slowly climbs to its pre-pandemic level, Hinterm Berg uses the transitional phase to bring this connection into the light cinematically.
Directed and developed together with Tian Guoxin. Cinematography and editing by Tilman Bechtold, camera assistance by Bokyoung Jeong.
Hinterm Berg was made possible by the program Verbindungslinien of BBK Bayern and supported by LEONARDO-Zentrum für Kreativität und Innovation.
Overtude: Intro Oraltore is a performance searching for Brandon La Belle’s idea of an "oral imaginary" through the history of theatre, opera, spoken word poetry and pop-music alike.
It was developed in collaboration with Lea Rüegg and Marc Norbert Hörler and performed with the later on the occasion of Art's Birthday Festival 2020 at E-Werk, Freiburg.
The room-filling installation investigates what artist Peter Halley, based on Foucaults writings on geometry as a disciplinary tool, called a (representational) "crisis in geometry". It employs a multitude of materials, media and forms to stage life within contemporary modernity in the aesthetics of the prison-industrial complex. Focusing on the metaphorical idea of a cellular existence, it ponders the transformative powers of solitary confinement: the penitentiary that wants to change the prisoner towards an adaption to society - and the inmate that grabs every inch of their surroundings, changing them in order to create even the most minimal forms of agency.
An interactive performance that ponders narrative tension as departure point for action. Trying to create a stimulating atmospherical density, the meditative piece uses repetitive dance moves and stretching exercises to bend the notion of time. Spoken word becomes flat language, loses its narrative arc and the idea of a climax is traded for a plateau that builds the base for action and activism.
THERE'S LOTS OF TIME LIKE NOW was performed as part of Aeroponic Acts , the 2019 graduation show of the Dutch Art Institute.
>>> VIDEO_DOCUMENTATION >>>
Weal and Woe blends poetic world building with the ever unfulfilled promise of pop-cultural salvation and uses an unconventional take on queer histories to speculate on an idiosyncratic approach towards critical aesthetics in the 21st century.
It is the first collaborative audiovisual performance of Karin Kolb, Felix Neumann and Joannie Baumgärtner and was developed for the Event-Series "Next" hosted by the Berlin-Based design studio Collide24.
A performance for four actors, inspired by the historical nocturnal activity of so-called link-boys*: Guttersnipes of all genders that worked as torchbearers in the early modern era. Having a reputation as being for hire, they often provided sex-work across the lines of heteronormativity. The piece employs a contemporary understanding of orientation, visibility, and solidarity, to transform the language, actions and aesthetics surrounding the link-boys* into a performative engagement with the aesthetic sociality of these pariahs.
FUCK MOON, BLESS CLOUDS was commissioned by Barbara Boninsegna & Simone Frangi for the Festival "Live Works Vol. 9", performed by Kari Leigh Rosenfeld, Tian Guoxin, Marc Norbert Hörler & Joannie Baumgärtner.