• 2016 •



NOTE ON operates without stable location since mid 2013 and responds to different situations, contexts and issues. Together with collaborators temporary zones of critical irony are developed to uncover authority as a fiction and linguistic effect. Outfitted with a desire for solidary practices, NOTE ON in 2016 surveys collections and inventories of contemporary artefacts. Understood as »actants« in Bruno Latour’s sense, the things of interest are able to perform an excessive morphing inside and outside of the digital space. These agents are entities equipped with rights and duties, with a certain inherent logic and dynamics, and they circulate as objects, discourses and social bond to generate collectives. Instead of reducing tools, objects of consumption or everyday items to mere materializations of a specific time and culture along the representational rationale of social (dis-)relations, NOTE ON focuses on ironizing gestures of display which reflect the positions of enunciation and point at existential tensions between the nature of tragedy and comicality, especially in relationship to constructions of femininity and national identity.


• 2015 •



For this year, NOTE ON reactivates its FilmKlub for post-colonial and feminist visions. The FilmKlub was established in 2013 to probe films and time based artistic media as tools for the construction of social spaces. Inviting artists, filmmakers, thinkers and experts of various fields to host a gathering based on a movie of their choice, the FilmKlub facilitates conversations, debates, and close readings based on the current practice and ideas of the host in relationship to the semiospheres of the selected movie. Artist Lerato Shadi’s choice for the FilmKlub is the collaborative, cinema-direct documentary Jeppe on a Friday (Canada, South Africa, 2012) shot by a team of women directors around Arya Lalloo and Shannon Walsh. Through the portrayal of five men and their ambitions, desires, and struggles to survive over the course of a Friday, the film explores one of the oldest Johannesburg suburbs: Jeppestown.


• 2014 •



In the fourth year of NOTE ON’s existence, it has decided to work without a fixed space to be able to react upon differing situations, sites and contexts. Instead of asserting a space, it likes to meander and discover new areas of crossing, in which figurative thinking provokes the genesis of ideas and critique. For 2014, NOTE ON has received manifold invitations from institutions, artist run initiatives, project spaces, private collections and archives. At each site and occasion it will tailor an improvised virtual social fabric whose patterns and pores are woven by artists, thinkers, researchers, local experts, collaborators and strangers. We consider these pores as leaps for »temporal vertigos« (Tiina Kirss 2006), indecisive states in which the known touches the unknown. NOTE ON is interested in artistic practices that conceptualize topographies where certain figures of thought get shaped, drawn and placed. Locating the question of culture in the »beyond« (Homi K. Bhabha 1994), it creates exhibition formats and research projects on in-betweenness, interstitial passages and ex-centric sites of experience – like in »Krampfographien/ Crampographies« realized in February 2014. Back then, NOTE ON immersed into states and topoi of physical tension and reflected the potentiality of the cramp as a collective-singular collapse from a queer and post-identitarian perspective. Reading acceleration, arrhythmia, disruption, temporal overload and circulation of seemingly dismembered pieces of chronology as disturbing effects and significant proofs of periods of social and political upheaval, NOTE ON confronts those splinters with the everyday. Therefore it records ideal and actual spatializations of movements and thoughts between past and future, mind and matter, institutional sites and public spheres.


• 2013 •



For 2013, NOTE ON takes on the contextual processes of naming and re-naming in our visual culture. Within the following five artistic projects, the (re-)naming gets conceptualized as an action constituting reality and through which agents oppose lingual normativities: The titling of contemporary sculptures along with significant events and historical ruptures, i.e. 1989 (»Und die Uhrzeit läuft einfach immer weiter«, solo exhibition by Wilhelm Klotzek), casting spells on objects and charging them with narration (»Ils usaient de la parole un peu comme le chef de train de ses drapeaux, ou de sa lanterne.«, group exhibition curated by guest curator F. Heckel), traceable misunderstandings of and caused by language (»Keep Taking it Apart«, group exhibition curated by guest curator Yulia Startsev) or the speculative etymology of the plant genus »Ferrari Amaryllis« (»Ferrari Amaryllis«, exhibition by L. McLardy and F. Spichtig) can be understood as artistic acts of name-giving against the backdrop of unfinished histories and the appropriation of material residues. As Friedrich Nietzsche (1844-1900) already pointed out in his book Die fröhliche Wissenschaft (1882), the names of objects are far more important than »what they actually are«. From the moment of their naming, the named ones enter a paradoxical state of intimate ascription as well as radical depersonalization, a situation in which the margins of systemic organizations can dissolve and pass into the rhythmical and non-identitarian.


• 2012 •



»News about the Apocalypse #1-8« is an eight part series of solo and group exhibitions on existential topics such as love, conspiracy theories, post-humanism, individual mythology and the convergence of art and activism. In the context of this series we anticipate and celebrate the predicted end of the world on December 21st as both an actual collapse and a new beginning. From January to December, various models and systems will be tested together with complices and visitors. Currently disputed, they might be of use in the future. We investigate the borderlands of art and science, search for extraordinary methods of archiving and implement historical and marginalized knowledge. The expansion into the public sphere, an interdisciplinary dissolution of boundaries and the question of how we want to act and archive in a new world define NOTE ON in 2012.

• 2011 •



In its founding year 2011, NOTE ON lies its focus on the recording, visualization and performative qualities of elements in motion and their freezing and transfer into the space as signs, grids and symbolic actions. This year, we will use NOTE ON as introductory formula and frame of each event because as a team of a project space we inspire and care for a continuous (re-)forming and contextualization of »young« conceptual positions (i.e. »Note On a solid soul« by F. Heckel). NOTE ON invites different artists and cultural producers to construct spatial sketches and notes – open structures which are associative, (a)symmetric and (a)logical. Within four solo exhibitions, one book exhibition with »Studio Taube« and one collaboration (»Note On In-Difference« by L. Wittenburg & J. Zimmer) throughout the year the relations between drawing, text and sculpture will be investigated over the course of one year.