10.5.2025 – 11.5.2025
from 1 pm
Entrance incl. admission to the exhibition 9/6 Euros

 

There is something magical about words and what they do to us, and something singular in the way we use them. How to Move and Respond is an exhibition as text, in texts. A weekend-long programme to stage what language in and about art holds, is able to hold, and how. Conceived as a group show – one that throws discourse in the air like confetti (Estelle Hoy) – it describes an encounter, an attempt to fathom discursive relations.

How to Move and Respond is an invitation to artists and writers to read/present their texts in the garden of Haus am Waldsee. For the exhibition two levels unfold: on the one hand, the texts or text-based works are read/presented in the form of readings, performances, audio files, or screenings. On the other hand what is written about, or the artists who are described, or the artworks that are discussed (but are not visible).

In Welcome to Girard, in May N°21 Jay Chung writes with reference to Elif Batuman about the importance of “discursive relations in which works respond to and elaborate on their contemporaries” and “If there is no means by which someone else’s work can further one’s own, art becomes a zero-sum game in which everyone else is an obstacle to realizing one’s own project or gaining the attention of audiences”. How to Move and Respond wants to underline that we move further via others, and their words, that we understand everything only through them. Also, one’s own position and ways of working and its effects. Art that touches something, touches one, always evolves from the dialogue with the ideas of others.

The oldest contribution I selected for the second edition of How to Move and Respond is from 2013, the youngest from 2025 and the invited artists are from different generations. From fifteen participants, I chose specific texts or artworks for this exhibition and invited ten artists to readings of open text contributions. So this is also literally an exhibition of encounters. And Speech is a symptom of affection…(Emily Dickinson).

The contributions include (this division is rough and there are overlaps) texts about the conditions or the status quo in contemporary art and/or society by Elise Duryee-Browner, Loretta Fahrenholz, Jay Chung and Q Takeki Maeda in collaboration with Ken Okiishi and Nick Mauss, Ilya Lipkin, and Georgie Nettell, texts about exhibitions and artworks or practices of artists by Paige K. Bradley (Kaari Upson), David Jourdan (Merlin Carpenter), Jan Kunkel (Hanne Darboven), Robert Müller (Stefano Faoro), Marie-France Rafael (Anne Imhof), Jamieson Webster (Bracha L. Ettinger), Annette Weisser (Vincent Fecteau), Camilla Wills (Gregg Bordowitz), and Simone White (Trisha Donnelly), text based works or texts about one’s own practice by Tina Braegger, Guiding Light (Till Megerle, Michaela Kisling, Artjom Astrov), Lisa Holzer, New Theater Hollywood (Calla Henkel and Max Pitegoff), Phung-Tien Phan, Josephine Pryde, Nora Schultz, Miriam Stoney, Michael Van den Abeele, Simone White, and performances by Angharad Williams, and Organza Ray (Eleni Poulou and Hilary Jeffery). The videos and audio files will just like the readings only be visible/audible once.

All contributions stand out due to their sensitivity, humour and, albeit occasionally ambivalent, their love for contemporary art. They are restless. And I am a fan. In the park, there is a graffiti: 

Alle werfen / Keiner fängt (Everyone throws / No one catches).

I read this weekend also in this sense to catch these ideas (once more) in a garden.

 

Lisa Holzer

Saturday, 10 May 2025

1 pm

Marie-France RAFAEL, “Faust,” on Anne IMHOF at the Venice Art Biennale 2017 (2022). Read by Niclas RIEPSHOFF.

Annette WEISSER, “A Home Without a Cat Is Just a House,” on Vincent FECTEAU at Fridericianum, Kassel (2021).

Ilya LIPKIN, “Wannabe” (2017).

Loretta FAHRENHOLZ, “A Decade that Exploded” (2021).

 

2.30 pm

David JOURDAN, “Repetition and Fatigue,” on Merlin CARPENTER at Nousmoules, Vienna (2018).

GUIDING LIGHT (Artjom ASTROV, Michaela KISLING, Till MEGERLE), “Guiding Light I” (2021).

Jamieson WEBSTER, “On the Hook, Trauma, Transference, and the Art of Bracha L. ETTINGER” (2022). Read by Cecilie NORGAARD.

Elise DURYEE-BROWNER, “Fear of Difference” (2025).

 

4 pm

Tina BRAEGGER, “The Dream Relatives” (2023).

Georgie NETTELL, “The Onset of Automation” (2018).

Ken OKIISHI and Nick MAUSS, “The Sixth Year, Ep. 4,” written by Jay CHUNG and Q Takeki MAEDA (2013).

Angharad WILLIAMS, “The Owl Mixtapes” (2025).

 

 

Sunday, 11 May 2025

1 pm

Miriam STONEY, “Transports” (2022–2025).

Paige K. BRADLEY, “Say What You Like,” on Kaari UPSON at Sprüth Magers, New York (2024).

Jan KUNKEL, “Suppose to Conduct Feelings In a Circuit,” on Hanne DARBOVEN at Heidi, Berlin (2023).

Robert MÜLLER, “Militant Self Care,” on Stefano FAORO and Nuremberg (2022).

Phung-Tien PHAN, “Half Moon” (2019).

 

2.30 pm

Josephine PRYDE, “Constable” (2015), and some other mentions of cognition.

Simone WHITE, “The Woman Who Helped Me,” on Trisha DONNELLY (2024). Read by N.N.

Simone WHITE, “At Your Best You Are Love” (2019). 

Nora SCHULTZ, “Performance in Life-Size Architecture Model of Terminal +” (2015).

Lisa HOLZER, “This Is the First Time in My Life, or Politically, That I Wanted to Be Part of an Institution” (2025).

 

4 pm

Camilla WILLS, “Conviction,” on Gregg BORDOWITZ at Camden Art Centre, London (2025). Read by Anna GRITZ.

NEW THEATER HOLLYWOOD (Calla HENKEL and Max PITEGOFF) (2025).

Michael VAN DEN ABEELE, “Learning to Count” (2025).

ORGANZA RAY (Hilary JEFFERY and Eleni POULOU), “Water Map” (2025).

With the kind support of: