Loretta Fahrenholz, Champagne Galop at Kunsthaus Biel, 2024 / Courtesy of the artist / Photo: Lea Kunz
Loretta Fahrenholz: Champagner Galopp
Jun 9 – Aug 25, 2024
Kunsthaus Biel
Biel, Switzerland

Legend has it that the orchestral piece Champagne Galop (1845) was written by the Danish composer Hans Christian Lumbye after he skipped an invitation to an exclusive embassy celebration in Copenhagen. Lumbye supposedly never attended the festivities and instead went to his favorite pub. When he returned home late at night to tell his family about the party, he improvised this lively piece on the piano to accompany his made-up story. The pompous composition, a mere fantasy Lumbye’s about the upper classes, is now considered a classic of orchestral music.

Loretta Fahrenholz has created similar mimetic linkages in her solo presentation Champagner Galopp. A spatial installation newly conceived for Kunsthaus Biel presents two image series and several groups of objects immersed in magenta light. The 37-minute film Trash The Musical will be screened in the adjoining room. The exhibition explores questions around the increasing influence of technology on our understanding of identity and history.

The photo series Court Society 1-23 (2024) was produced over the course of various gatherings of the Höfische Gesellschaft Berlin, which the artist documented photographically. The Höfische Gesellschaft is a local association whose heterogeneous members use role play, (often self-made) costumes and the joint rehearsal of historical dances to approximate the lifestyle of the aristocracy of the Baroque era. Similar to a LARP (Live Action Role Play), each member embodies a historical or semi-fictional character. Besides an imaginary journey through time, this reenactment allows the club members temporary class mobility.

[ . . . ]

In both works, Fahrenholz investigates correlation between performative appropriations of styles and contexts and the technical principle of algorithmic AI technologies whose models are also trained to reprocess archived content: Text-to-image generators synthesize content from a pool of categorized data (e.g. «baroque») through a computational process. Similar to the meetings of the Höfische Gesellschaft, the result is not an authentic reconstruction, but a hybrid intersection of the available information. While referring to heterogeneous sources (e.g. paintings, cinematic representations, comics and illustrations, private pictures of costume parties, etc.), the outcome exists detached from their original value contexts and spaces of experience.

The eponymous spatial installation Champagner Galopp consists of storage boxes filled with colored water and draped with food and jewelry, evoking ephemeral still lifes or store displays. Reenacting the logic of AI algorithms, the showcases take up motifs from the exhibition while also referring to Biel as a leading production site for luxury watches. The faux brand accessories function as placeholders of a desired prosperity, while the inferior production quality of the surrogates still signifies the underlying social distinctions. In the exhibition, the watches and rings find themselves next to common potatoes and cucumbers, both equally stripped of their authenticity and history.

Loretta Fahrenholz: Champagner Galopp
Jun 9 – Aug 25, 2024
Kunsthaus Biel
Biel, Switzerland

  • RCA 2024
    Jun 20 – Aug 4, 2024
    Royal College of Art
    London, UK

    From 20 June to 4 August students from the Royal College of Art (RCA), the world’s leading art and design university, will present RCA2024, a series of exhibitions, events and activities exploring innovative and boundary-pushing art and design projects. Alongside exhibitions showcasing student work, there will be a variety of workshops, readings, performances, screenings, panel talks and lectures from students and alumni which are free and open to the public. (more…)

  • Max Beckmann
    Artist / Painter
    Featured Profile

    Max Beckmann (1884–1950) was a German painter, draftsman, printmaker, sculptor, and writer. Although he is classified as an Expressionist artist, he rejected both the term and the movement. In the 1920s, he was associated with the New Objectivity (Neue Sachlichkeit), an outgrowth of Expressionism that opposed its introverted emotionalism. (more…)

  • Calida Rawles: Away with the Tides
    Publication
    DelMonico Books
    International

    Merging hyperrealism, poetic abstraction and the cultural and historical symbolisms of water, Los Angeles–based artist Calida Rawles (born 1976) creates unique portraits of Black bodies submerged in and interacting with bright, mysterious bodies of water. The water, itself a sort of character within the paintings, functions as an element that signifies both physical and spiritual healing, as well as historical trauma and racial exclusion. (more…)

  • Rencontres d’Arles 2024
    Beneath The Surface
    Jul 1 – Sep 29, 2024
    Arles, France

    Tremors and turmoil, spirits, traces, parallel readings and rereadings all constitute new perspectives underlying the 2024 edition of the Rencontres d’Arles. Photographers, artists and curators reveal their visions and stories, not least that of our humanity, by turns thwarted, in endless redefinition, resilient, but also visionary. Whether on the margins or established at the center, the narratives lead to divergent, multiple paths, all emanating from the faults in a porous surface: they intertwine, superimpose and overlap. (more…)

SUBMIT YOUR ANNOUNCEMENTS
Visit our New Announcement Submission page > Announcement Submission page >