Postmodernism is over. As global warming, the credit crunch and political instabilities are rapidly taking us beyond that so prematurely proclaimed ‘End of History’, the postmodern culture of relativism, irony and pastiche, too, is superseded by another sensibility. One that evokes the will to look forward, that invokes the will to hope again. Discussing Metamodernism brings …
Over the last few decades, the international art scene has moved to Berlin. En masse. Inspired by cheap rents, massive spaces, and a high quality of life. But also by the plethora of myths of old and new. The city appears to be home to more art magazines and blogs, galleries and artists than the rest …
Some time ago, Galerie Tanja Wagner curated the first exhibition explicitly linked to the metamodern. It would be an understatement to say that the exhibition was a success in terms of either popular appreciation or critical acclaim. Art glossy Monopol instantly put Wagner on the front page. Art-Magazin called her the ‘absolute Newcomerin’. Der Tagesspiegel …
Over the last few months, there has been much discussion online as well as at parties, galleries and conferences, about the meaning of the prefix meta- in metamodernism. Now, of course, each and everyone is free to define, re-appropriate and use it in any one fashion. Metamodernism as a term – but not as a …
On the 25th of September, Galerie Tanja Wagner will open its doors with the much anticipated, aptly titled exhibition ‘Die Tür geht nach Innen auf’. But what is it that we encounter inside? “Galerie Tanja Wagner inaugurates its space on September 25 at Pohlstraße 64, Berlin-Schöneberg with the group exhibition Die Tür geht nach Innen …
Galerie Tanja Wagner opens its doors – onto the metamodern Read More »
It is difficult to describe what Sejla Kameric’s work is about. It is about an international conflict (the Balkan wars). It is about the decline of a city (Sarajevo). It is about ethnic cleansing (of Bosnian-Herzegovians). It is about longing for a past that is lost (a culture’s, a city’s, the artist’s). It is about the emancipation of a young girl (the artist herself). Kameric’s work is political. But it is also personal. However, one would be mistaken to call the political personal and vice-versa.
