gasoline 2011
as part of the group exhibition Colasel II at Van Horbourg, Basel
with James Clarkson, Christian Freudenberger, Marcel Hiller, Ninakarlin Prinz, Sara Vidas and Pedro Wirz
gasoline 2012
as part of the collaborative exhibition Magicgruppe Kulturobjekt at Ludwigforum Aachen
2012
gasoline 2015
as part the group exhibition HOSPITALITY 1 at Hospitality, Cologne
with Aleksandra Bielas, Marcel Hiller, Jan Hoeft, Daniela Kneip Velescu, Helena Schlichting and Ania Czerlitzki (kitchen Drinks)
gasoline 2016
as part of the solo exhibition Kommune Brölio at Schmidt & Handrup, Cologne
2016
gasoline completed
as part of the group exhibition Bad Romance, Gussglashalle Berlin
with Aline Bouvy, Tommy Camerno, Zuzanna Czebatul, Flavio Degen, Diane Edwards, Lena Marie Emrich, Marcel Hiller, Dina Khouri, Nicolas Pelzer and Marta Vovk
curated by +DEDE
2019
+DEDE wrote:
In her novel A - Z Life Coaching Keren Cytter uses the alphabet to build an abstract narration, with the help of contemporary life fragments. Whether it is with meditation applications for our mobile devices or with extended periods of tiresome jogging sessions, we all try to get by. Bad romances are one of those things we get entangled into, staying, leaving, dependance and love all become one, blurring all the rationality that is left.
“E opened his laptop. He wanted to google “Why do people stay in an abusive relationship?” But after typing the first word, Google suggested five ways to continue the sentence: Why did prince die / Why did Chyna die / Why prince died / Why are you always lying / Why is the sky blue. E copied the computer screen and posted the suggestions on Instagram. He didn’t finish typing the question.” (Excerpt from K. Cytter, A - Z Life Coaching, 2016, Sternberg Press)
Bad Romance invites artists that are working across a wide range of mediums, from organic shapes to digital formats and canvases. We are proposing a round up of contemporary practices that adresses the state that we live in, with its share of bad romances, difficult mornings, but also topics such as a critique of the growing xenophobia sweeping over Europe. Why do we stay and why do we leave, and is it worth it? What am I to find over there? From unhealthy relationships to one’s home; leaving is a courageous act. Setting out on a journey is a courageous act. Bad Romance is a starting point, a temporary place in which we are bringing ten artists, taking off on different yet complementary routes. Maybe we do not have to come back to where we began.
