Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Oliver Klimpel, Head of the Curatorial Workshop at the Bauhaus Musuem Dessau, and Olav Westphalen five the opening address of EndExpo 2024.
Photo Credit : Simon Blanck, 2024
Kasia Fudakowski made the sculpture, Moving the Goalposts, as a movable archway through which visitors entered the fair where they found the the registration desk with information on APT's past projects, publication, the Sunday Bauhaus audit and general registration of disappointment.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Kasia at the registration desk welcoming visitors to EndExpo.
Photo Credit : Simon Blanck, 2024
Old tote bags were collected by APT members and the repurposed for EndExpo.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Jana Thiel's contribution to the End-Expo 2024 was the installation, How to take over the work of the undertaker, 2024, an alternative, artistically elaborated "funeral decree", that can be used as a template for a personal "funeral plan" alongside her artist's book "SOIL AND GREEN", and selected informative (humorous) illustrations.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
For If I sit down now I don't think I'll ever get up again, Simon Blanck invited visitors to sit down and browse in two binders full of photographs depicting chairs and benches found in the vicinity of graves. Furniture made for sitting down and contemplating the end.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Alongside the artists' presentations and installations, EndExpo also welcomed organisations working in the field of palliative care: Deutsche Gesellschaft für Palliativmedizin and as seen here, The Anhaltische Hospiz- und Palliativgesellschaft Dessau.
Photo Credit : Simon Blanck, 2024
Alex Brenchly created an interactive board game for anyone to play, called Whose Palliative Turn Is It Anyway. Visitors were invited to play in groups of six or less.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Alex playing a game of Whose Palliative Turn Is It Anyway? with Annemarie Goldschmidt, APT's resident kinesiologist.
Photo Credit : Simon Blanck, 2024
Alex and Annemarie, our tallest and shortest contributers.
Photo Credit : Simon Blanck, 2024
Annemarie gave a lecture on kinesiology titled "How would you like to go?". She also spoke to many visitors and contributers one-on-one.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Georgios Papadopoulos & Garyfallia Spanou presented a lecture titled "How to prepare a human-free future: Politics for the Palliative Turn". They argued how a palliative turn in politics encourages us to embrace compassion, love, and eroticism to confront existential challenges.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Ecconomist Lars Stemmler offered the audience a new way to track humanity's progress. Instead of measuring it in material terms like GDP, he presented a Global Palliative Indicator. Why not control our socio-economic system by palliative principles that do not boost growth, but dignified demise?
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Dr. Aljoscha Rheinwalt presented a lecture titled, "Introduction to palliative approaches in the Geo-scientific field".
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
The crowd watch the lecture programme on the Saturday at EndExpo.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Outside the musuem was the inflatable 'Fligerhaus', in honour of Bauhaus architect and designer Carl Flieger. For EndExpo it house comedian, writer, and artist John-Luke Roberts, and artist Loiuse Ashcroft, both from London.
Photo Credit : Simon Blanck, 2024
John-Luke Roberts' Death Limericks (Unfinished) is a tribute to the Japanese tradition of the death bed Haiku, he wrote poetry from his own cultural tradition (limericks) to be finished (hopefully) when he's dying. John-Luke took suggestions from visitors and performed the unfinished limericks at the end of the show.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
While John-Luke pondered poetry in the Fliegerhaus, Louise Ashcroft asked visitors questions about their grandparents' hobbies and rituals (like soup, walking slowly, jigsaws) which could be used in eco protests and asked them to paint and cut out these objects painted. This work, Nana-chism: Grandparent inspired tactics for eco protest, comments on a new Public Order Bill in the UK which limits conventional protest methods.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Louise takes in all the objects vistors made at her stall for Nana-chism: Grandparent inspired tactics for eco protest.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
John-Luke presents his unfinished limericks at the end of the show.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Marit Neeb's cyclical performance Fensterstück formed a silent and slow-motion frame around the End Expo. Using chalk, stencils and a ladder curtains were drawn on and then washed off the window façades in sequences of articulation and erasure. The patterns were derived from PET water bottles designs, and prompted associations of vitality and fragility, production and destruction.
Photo Credit : Simon Blanck, 2024
Marit painting the windows as part of her performance, Fensterstrük.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Nala Tessloff's installation, Onesie, Freizeitanzug für bis zu sieben Personen, asked visitors to get into a Onesie. As she described it,"Once tried on, it might be difficult or even impossible to leave your position without outside help. It might feel cozy or uncomfortable to be so close to others. Your extremities might touch those of others. Maybe you'll feel like a baby. Maybe you’ll fall asleep and never wake up again."
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
People in Nala's Onesie, Freizeitanzug für bis zu sieben Personen, pose.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Marit Neeb's sculpture, Torso [1], recalls a classical marble torso yet its model was derived from a PET water bottle and is made of low-density synthetic rigid foam that is sensitive to pressure and hence receptive to traces of the passage of time.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Lydia Röder has been supporting people at the end of their lives for many many years. She is a certified course leader of the German Society for Palliative Medicine, offering palliative care courses, spiritual/existential care interprofessional courses and palliative practice seminars. Here she is demonstrating a singing bowl.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Here Lydia is demonstrating the bass body tambura; it produces a deep sound and therefore a special vibration. It can be placed on the front or back of the body and played.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Wendy Lin's contribution to EndExpo was A Forgettable Tour around the Bauhaus Musuem, Dessau. In her words, "On this guided tour, we will walk around the Bauhaus Museum and remember nothing when we go home."
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Wendy Libn taking visitors to one of the highlights of the Bauhaus Musuem, Dessau, a stairwell.
Photo Credit : Simon Blanck, 2024
APT members Nadja Quante, Laura Pientka, and Irene Strese put on Leichenschmaus, which offered finite pleasure: limited editions from APT members in the midst of a still life that is coming to an end. Visitors treated themselves to fruit, chocolates, and art.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Suse Weber's installation picture vocabularies, was a presentation and demonstration of an alternative picture tool: So-called picture vocabularies, at once convertible and interchangeable, which were used in conversation-accompanying interaction with Suse Weber. In this playful process, new forms of narration emerged.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Manual Kirsch's sculpture, End Fair Table, dissolves the horizontal division of the world into everything that happens on a table and everything that happens under a table, thereby enabling a departure from the restrictive and widespread way of sitting at a table.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Kasia Fudakowski's Moving Goal Posts, Sculpture.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
Most trade fairs don't give much thought to their ends. But at EndExpo we scheduled each stalls desconstruction in the programme. Alowing both visitors and participants the time and sapce to consider their ends.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
The time of the Fliegelhaus at the EndExpo comes to an end.
Photo Credit: Bauhaus Dessau Foundation, Thomas Meyer, 2024
John-Luke bears witness to the Fliegelhaus's deflation.
Photo Credit: Stefanie Loos | Humboldt Forum Foundation
Expert Discussion in the third act of Build Up! Build Down!
Photo Credit: Stefanie Loos | Humboldt Forum Foundation
Lydia entring the stage during Build Up! Build Down!
Photo Credit: Stefanie Loos | Humboldt Forum Foundation
Lydia in her role as a citizen witness for her grief work.
Video Credit: lineandsurface.com
A video of Kasia's presentation at Trafó
Photo Credit: Benedek Bognár
Kasia presents to the crowd at Trafó
Photo Credit: Benedek Bognár
A video of John-Luke Roberts plays as part of Kasia's presentation.
Photo Credit: Benedek Bognár
Kasia's Pallative jacket and curtains.
Photo Credit: Benedek Bognár
Photo Credit: Benedek Bognár
Sofie Krogh Christensen introducing An Evening on the Palliative Turn at KW, pogo bar, hosted by Kasia Fudakowski, march 2022. Photo credit: Nienke Roth
Kasia Fudakowski hosting An Evening on the Palliative Turn at KW, pogo bar, curated by Sofie Krogh Christensen, March 2022. Photo credit: Nienke Roth
John-Luke Roberts with It Is (A Bit) Better, performing at An Evening on the Palliative Turn at KW, pogo bar, curated by Sofie Krogh Christensen and hosted by Kasia Fudakowski. March 2022. Photo credit: Nienke Roth
Olav Westphalen, with ‘Cancer-Break-up-Songs’, 2019-22, performance with video, at An Evening on the Palliative Turn at KW, pogo bar, curated by Sofie Krogh Christensen and hosted by Kasia Fudakowski. March 2022. Photo credit: Nienke Roth
Simon Blank screening of ‘The Twentieth Century: A Bummer’ at An Evening on the Palliative Turn at KW, pogo bar, curated by Sofie Krogh Christensen and hosted by Kasia Fudakowski. March 2022. Photo credit: Nienke Roth
Anne-Marie Goldschmidt performing at An Evening on the Palliative Turn at KW, pogo bar, curated by Sofie Krogh Christensen and hosted by Kasia Fudakowski. March 2022. Photo credit: Nienke Roth
Dafna Maimon und Ethan Hayes-Chute
Camp Solong: Losing Weight
Camp Solong: Gewicht verlieren
Video, 9:35 Minuten, Holz, Hartschaum, Erde, 2021
Exhibition view
Alex Kwartler
Non-Curo
Farbdruck auf UV-beschichtetem Papier, 2021
Offene Edition / Open edition
Dieses Plakat basiert auf einem Epitaph, das von Anhängern des Philosophen Epikur seit der Antike als Grabspruch verwendet wurde. Es tritt der Furcht vor dem Tod entgegen, indem es sich
gegen Aberglauben ebenso wie gegen Heilserwartungen wendet. „Non fui, fui, non sum, non curo“ bedeutet in der deutschen Übersetzung lakonisch pointiert „Ich war nicht, ich war, ich bin nicht. Es ist mir egal“.
Seit einigen Monaten taucht das Plakat immer wieder in New York auf. Nun kann man es auch in Berlin sehen.
Karin Kytökangas
Utopian Designs
Farbdrucke, 2020
Utopian ist ein Unternehmen, das sich auf die Gestaltung öffentlicher Räume spezialisiert hat. Seine Projekte gehen von dem Eingeständnis aus, das unser heutiges Leben von offensichtlicher Sinnlosigkeit geprägt ist. Sie unterstreichen deshalb den Wert direkter und körperlicher Erfahrungen.
Eine Glasröhre, die Erde bewegt. Durch Unterdruck werden Erdbrocken angesaugt und an andere Orte versetzt.
Ein Metallgehäuse zur Kontemplation mit Glasdecke. Darin ein frischer, grüner Rasen. Das Gehäuse ist von innen verschließbar.
Der Innenerdumschalter. Tief unter der Erdoberfläche rotiert eine scharfkantige Metallplatte unaufhörlich.
Die Produktentwürfe wurden noch nicht realisiert. Möglicherweise wird das auch künftig nicht der Fall sein.
Kasia Fudakowski
Quilt
Patchworkdecke auf Molton, 2021
Der auf schalldämpfendem und cremefarbenem Molton ausgeführte Plan zeigt als Patchwork an, wer welche Bereiche des Körpers der Künstlerin berühren darf, wenn sie einmal selbst nicht mehr in der Lage sein wird, bestimmte Handlungen auszuführen oder darüber zu bestimmen, wer diese Handlungen ausführen darf.
Xavier Robles de Medina
The original position of the skeletons from the double burial in the Grotte des Enfants. Upper Paleolithic. Italy, ca. 24000 – 20000 BC
Acryl auf Holz, 2021
Die genaue Position der Gebeine im Doppelgrab in der Grotte des Enfants. Jungpaläolithikum. Italien, ca. 24000 bis 20000 Jahre v. Chr.
Nala Tessloff
UnSpoken Consort – Moro, Lasso
Tintenstrahldrucke, 2021
Notation und Text zu einem Werk, das UnSpoken Consort in ihrem Konzert am 19. September 2021 im Brandenburgischen Kunstverein Potsdam aufführen wird. Ausgehend von einem Renaissance-Repertoire werden musikalische Werke mit neuen Gesangsstimmen, eigenen Texten und elektronischer Instrumentierung geschaffen. In dem performativen Konzertformat teilen die Künstler*innen mit dem Publikum Gefühlszust.nde wie Geborgenheit, Trost und Traurigkeit.
UnSpoken Consort sind Emilia Durka, Annalouise Falk (Blockflöte), Tommy Fields, Alma Stoye, Anna Lodone (Gambe), Nala Tessloff (Gesang, Text)
Lydia Röder
Basskörpertambura
Holz, Metall, 2015
Die Basskörpertambura ist ein Klangkörper, der im direkten Kontakt mit dem menschlichen Körper gespielt werden kann. Die Wahrnehmung des Klangs ebenso wie der Vibrationen kann entspannend und schmerzlindernd wirken. Instrument und Körper bilden einen Resonanzraum. Das hier gezeigte Instrument wurde von Lydia Röder in der Arbeit mit Sterbenden im St. Joseph’s Hospice eingesetzt.
Exhibition view
(Links)
John-Luke Roberts
Liste
Poster, 2021
(Rechts)
Rattelschneck
Der Palliative Witz
Forschungsposter, das 2020 von Rattelschneck beim Kongress der Deutschen Gesellschaft für Palliativmedizin eingereicht wurde. Es belegte in der Bewertung des Fachpublikums den 4. Platz eines Wettbewerbs, bei dem die besten Forschungsprojekte ermittelt werden sollten.
Farbdruck, 2020
Exhibition view
Simon Blanck
Meine Kräfte sind vertrocknet wie eine Scherbe
Beidseitig bedruckte Werbebanner, 2021
Nina Katchadourian
The Recarcassing Ceremony
Video, 24:24 Minuten, 2016
„Carcass“, deutsch „Karkasse“ ist der Fachbegriff für die Überreste, die nach der Verwertung eines Tieres zurückbleiben, etwa Gräten oder Knochen, während „carcassing“ der Fachbegriff für Rohbauarbeiten ist. „Recarassing“ könnte man also begrifflich als Rückführung in den konstruktiven Rohzustand verstehen. Mit freundlicher Genehmigung der Künstlerin, der Catharine Clark Gallery und der Pace Gallery.
Mathias Lempart
Rätsel
Metallschilder mit Gravur, 16-teilig, 2021
Verteilt im Stauden-, Schau- und Sichtungsgarten von Karl Foerster auf der Freundschaftsinsel
John Luke Roberts, performing at AFASIOTOPIA, 2020, (image: Christopher Paksi)
Kasia Fudakowski performing at AFASIOTOPIA, 2020 (image: Simon Blanck)
Palliative Care Expert Lydia Roeder, accompanying John Luke Roberts at AFASIOTOPIA, 2020 (image: Simon Blanck)
John Luke Roberts, performing at AFASIOTOPIA, 2020, (image: Christopher Paksi)
What would happen, if we began to think of art as a practice that helps us leave this life behind? A process that prepares us for the fact that individually and as a civilisation we will cease to exist in this form rather soon? In a three-day symposium, a group of artists and thinkers might lay the groundwork for the forceful declaration of the ‘Palliative Turn’ in art.
Narratives, art works, films that are trying to usher in profound change are plenty. Many of them are smart, sensitive, beautiful. But they are generally based on the assumption that somehow, through education, reason, technology or social action, we can solve our problems. They are curative rather than palliative approaches. What if this assumption of our capability to fix things were just another facet of the self-aggrandizing species-exceptionalism that got us into trouble? What if our ambition to control, not just our own lives, but even the planet's equilibrium is just the latest symptom of what has been wrong all along? And, finally, could acceptance of our predicament, learning how to let go and eventually die well, be a first step towards learning how to live right? Living right, one might guess, would imply a less destructive presence. (This is, ironically, where hubris might sneak in again).
This symposium has been initiated by Olav Westphalen and is funded by the Swedish Arts Grants Committee.
Press release for AFASIOTOPIA, 2020, Foundational Symposium, Salon am Moritzplatz, Berlin
*A Foundational and Speculative Invocation of the Office of Palliative International Art
Olav Westphalen, Sketch for the Palliative Turn, 2019
Simon Blanck performing at AFASIOTOPIA, 2020 (image Christopher Paksi)
Nina Katchadourian speaking at AFASIOTOPIA, 2020, (image: Christopher Paksi)
Dafna Maimon performing at AFASIOTOPIA, 2020 (image Christopher Paksi)
Olav Westphalen, opening statement at AFASIOTOPIA, 2020, (image: Simon Blanck)
Porcelain photograph on a piece of tombstone. The photograph is of two skulls in a museum display. They are lying there facing each other and I found the scene quite moving, love that transcends death and time. I made a porcelain photograph of the picture, the kind of porcelain found on tombstones with a portrait of the deceased. I put the porcelain on a piece of second hand tombstone that had been discarded from a local cemetary.
performance still; Burning a stack of tires on an arctic lake near the Barents Sea in a failed attempt to make a charcoal-drawing on a white landscape.
In connection with the first meeting of APT I visited the the royal mausoleum in Charlottenburg and was infatuated with Queen Louise’s sarcophagus. I took a series of photographs of the very captivating marble drapings on the sculpture. I consider theese photographs to be the first images I made in the spirit of the Palliative Turn.
Eingereicht als “Abstract” für ein Forschungprojekt zum 13. Kongress der Deutschen Gesellschaft für Palliativmedizin, 2020. 4. Platz der Teilnehmerbewertung im Wettbewerb für wissenschaftliche Poster.