We warmly welcome you to join us for drinks and bites to celebrate the opening of In Silence, a solo-exhibition by Grace Schwindt, which also marks the re-opening of our fully renovated space.
The practice of Grace Schwindt is primarily focused on performance and film as well as sculptures and drawings. Many of her works explore aspects of historical events with an emphasis on social relations. It is however never obvious where she draws the line between fiction and non-fiction. She aims to clear institutionalized spaces from meaning and to de-construct narrative structures, while acknowledging that spaces will always stay loaded with given connotations.
Schwindt’s exhibition at ROZENSTRAAT is formed out of a new body of work and is part of the artist’s ongoing exploration on how public health is perceived and treated in our present days. Her new film Five Surfaces All White (2019) questions the intentions made apparent by the architectural designs and structures of health institutions and their ensuing perceptions of public health. Just as most of her other featured works, the film is based on a combination of historical research, personal memories of Schwind’s grandfather and interviews that the artist had with various people working within the field of public health or are in a way faced with physical or mental wounds. The performers in the film don’t necessarily represent people but could also represent times or parts of oneself or intergenerational relationships or even a memory, creating a rather fluid way or storytelling.
Another work that took its starting point from the conversations between the artist and her grandfather is Remembered Positions (2019). The performance consists of a series of positions that the performer takes, each one representing a memory of a position in a story that Schwindt’s grandfather told her about the boxing matches he took as a prisoner of war in Tunisia during the Second World War. In addition to these memories he also spoke about his experience as a soldier, focusing on the soldier’s body from different perspectives and experiences. The personal talks between grandfather and granddaughter are layered with on-going conversations between Schwindt and different dancers about their experience of wounds and caring for their body in order to perform, all together forming the core of the artist’s latest piece.
With the exhibition the artist creates an intimate moment of sharing physical and mental wounds as a possibility to create non-oppressive social relations. These themes also resonate in the sculptures and drawings presented. Without picturing specific wounds, the works question what we perceive as normative or healthy bodies within in our current society. Not meeting these standards is a way to resist categorisation as well as a refusal to be functional in a prescripted way. By showing possible alternatives to these current standards a more inclusive community might arise.
Grace Schwindt (DE, 1979) is based between Amsterdam and London. Solo-exhibitions include MARCO, Vigo; The Showroom, London and Badischer Kunstverein Karlsruhe among many others. Her work has also been on view at the Anren Biennale of 2017, the Istanbul Bienniale of 2015; Kunstmuseum St. Gallen; WIELS, Brussels and Tate Britain. Most recently her performances have been presented at Volksbühne, Berlin; DRAF, London; Performatik, Brussels and Playground STUK, Leuven. Upcoming solo-exhibitions/performances include CCA-Glasgow and de Oude Warande, Tilburg. Schwindt is represented by Zeno-X, Antwerp and her show In Silence at ROZENSTRAAT is her first solo-exhibition in the Netherlands.
The exhibition is generously supported by AFK (Amsterdam Fund for the Arts), Mondriaan Fonds, Stichting Stokroos and Cove Park