WATER COOLER CHAT

Rūta Junevičiūtė, Lilach Livne, Emmilou Rößling in collaboration with Goshka Macuga

 

 

 

WATER COOLER CHAT is a transitory time rocking back and forth, pondering on the preciousness of a passage, while gently cohabiting the host-universe of another artist.

Unfolding in tender gestures of female companionship, it is searching for an amplitude of casual intimacy. It penetrates iconography, sculpture and choreography, seeking to escape the world of categories towards the liminal and the accidental. Three women place themselves on the periphery of events, becoming the negative peak of the unspectacular, the uncanny and the slow. Dealing with the paralyzing state of being overwhelmed, WATER COOLER CHAT  is a blob of different materials that are asking the­ viewers to create their own experience by zooming into single details and leaving out others.  

The evening sets out as a response to an invitation by Goshka Macuga’s studio, allowing for different propositions to surface from a pool of mixed potentials and pre-existing artworks. It is always still in the making while at the same time trying to grasp the tail of the image that simultaneously precedes and follows.

 

 

Rūta Junevičiūtė (1987) lives and works in Vilnius (LT) and San Diego (CA). She graduated from the Vilnius Art Academy with a BA in Art Theory (2012) and an MA in Fine Art Practice (2017). Since 2011 she has been working on performances in collaborations with other artists such as Chiara Fumai, Alex Chechetti, Floris Schönefeld and Jude Crilly, Sophie Bonnet-Pourpett. She has performed in venues like Contemporary Art Centre Vilnius, Survival Kit Festival Riga and dOCUMENTA(13). She mainly works with video, text, dance

and theatrical, and occasionally curates.

 

Lilach Livne (1986, Israel) is an artist focusing on the relationship between choreography, dance, philosophy & community. Since 2012 she is leading a movement against the "visible image“. Her works explore themes of gender, religion, perception and the abstraction as a political agenda– all with the aim of reaching the „non-image". Her work has been presented at the 20th Sydney Biennale and at CCA TLV amongst others. Recently her practice

book Prayer for the Abstract was published by Circadian Berlin. Lilach holds a BA in Philosophy and Gender Studies from the Tel-Aviv University, she studied choreography at SNDO Amsterdam and has been teaching at Impulstanz Festival, Vienna. 

 

Goshka Macuga was born in 1967 in Warsaw, Poland, and lives and works in London. Her solo exhibitions include „Now this, is this the end … the end of the beginning or the beginning of the end?” at Schinkel Pavillon, Berlin (2016); „Goshka Macuga“, New Museum, New York (2016) “To the Son of Man Who Ate the Scroll” at Fondazione Prada, Milan (2016); “Public Address: Goshka Macuga Tapestries” at Lunds konsthall, Lund, Sweden (2014); “Exhibit, A” at the Museum of Contemporary Art, Chicago (2012); “Untitled” at the Zachęta National Gallery of Art, Warsaw (2011); “It Broke from Within” at the Walker Art Center, Minneapolis, MN (2011); “The Nature of the Beast” at Whitechapel Gallery, London (2009); and “I am Become Death” at Kunsthalle Basel, Switzerland (2009). Macuga’s work was recently included in the 8th Berlin Biennial for Contemporary Art (2014); dOCUMENTA (13), Kassel, Germany, and Kabul, Afghanistan (2012); “Fare Mondi/Making Worlds,” at the 53rd Venice Biennale (2009); and in the 5th Berlin Biennial for Contemporary Art (2008). Goshka Macuga was nominated for the Turner Prize in 2008.
 

 

 

„When all the lights in the empty theater are lit, a white sheet with the word ‚FIN’ comes down from above. The end! Applause! In this last image of an empty theater, in which lights are switched on only to emphasize the emptiness even more, there is something unbearably sentimental - but in the face of current political changes and terrifying cultural policy there is also a sinister element in it. I might be abusing my subjective perspective here however. After all, the last inventory is not a goodbye to the the building Olimpia - nobody is going to break or destroy it (for now). The stage is still working. Duncan, Krezel and Rößling perfectly show that each end gives a chance for a new beginning. I would like to add: and vice versa.“

 

Stanislaw Godlweski, Didaskalia Theatre Magazine, December 2017