ornament sublime, 2019
wicked games, 2018Room E–10 27 @ Center, Berlin DE
Room E-10 27 @ Center is pleased to present wicked games, a solo exhibition by Julian-Jakob Kneer. Kneer is primarily a sculptor and installation artist. He questions social mores with art that skirts the line between abjection and attraction. His investigations of subcultural semiotics and obscure bodily fetishes are underlined by a particular interest in (traditional) craft and the juxtaposition of opposing aesthetics.For his presentation at Center, the artist focuses his attention on the carnival and its potential to parody and produce grotesque identity configurations. The carnival sets the stage for a world of extremes where laughter subverts authority. His engagement with this theme raises questions about our conception of high and low culture, where the centrality of archetypes continues to exert a powerful influence on the collective imagination.Loners, Emos (emotional hardcore rockers), and cultural misfits are exemplified by the figure of the Waggis, a character that figures in the yearly Carnival of Basel. In this carnival, the Waggis is excluded from the community and this is played out as a parody of social relations and groupthink. The Waggis occupies the paradoxical position of being a misfit within a group of outsiders.The subjective identity produced by the group and those excluded from the group throws up questions related to libidinal investment, the taboos on which power relations are constructed and the violence that is exacted on, and by, those outside of the norm.
exhibition text by Ella Plevinhttp://artviewer.org/julian-jakob-kneer-at-center/http://www.sleek-mag.com/2018/04/25/gallery-weekend-berlin/http://www.ofluxo.net/wicked-games-julian-jakob-kneer-at-room-e-10-27/http://tzvetnik.online/portfolio_page/julian-jakob-kneer-at-room-e-10-27/
Jugend ist Trunkenheit ohne Wein, 2018BIKINI, Basel CH
Jugend ist Trunkenheit ohne Wein is a show I curated and intervened with my own installation and theoretical backdrop. This exhibition is built with artistic instruments and is examining the notions of the curatorial vs. the artistic practice. The hierarchy between the artworks and their environment is fluent / seamless.Jugend ist Trunkenheit ohne Wein is the living space of a fictitious (teenage) character with infantile and senile tendencies, depicting the teenager as a meta between child and adult, between childish and perverted. with: Bora Akinciturk, Fred H. Berger, Kamilla Bischof and Laura Welker, Adam Cruces and Louisa Gagliardi, R. Crumb, Zoë Field, Elin Gonzalez, Esben Weile Kjær, Jan Kiefer, Julian-Jakob Kneer, Veit Laurent Kurz, Michael Luberry, Marie Lea Lund, Tobias Madison, Evan McGraw, New Noveta / Louis Backhouse, Antoine Renard, Chromosome Residence, Yves Scherer, Laura Schusinski, Adam Shiu-Yang Shaw, The Gate, Amalia Ulman, Malte Zander
sub rosa, 20171.1, Basel CH
Here is a hole that’s more absence than presence; here’s our most holy vessel of psychosexual delusion and social precept. Here’s a thing that’s not object but abject, target of both disgust and desire: a place so sacredly obscene, so repulsively sexy, its name constitutes a slur in itself, and its integrity is still protected by the laws of the lands. This is the partition that separates our esoteric inside from the matter around, and perhaps the most unfair reminder of our crude biology. This is the most intimate and delicate part of our breathing body, shrouded in libidinous fantasy.In old times, they politely called it fundament: the grounding of life and death and lust, the ultimate offender.Here is an attempt to defuse this fundamental offense. As private fetish invades public life, sub rosa blurs the demarcations between hobby handiwork and professionalized creativity. The self-important neuroticism of conceptual art is dissolved into the accessible artistry of crafting; the figments of our public disgust and secret desire are knotted from the same rough yarn. And are crafts not the fundament of Fine Arts, equally despised and romanticized? Have they not been subject to taboo and fetish, banned to the constraints of the home? Are they not an effort to fill a gaping absence?Between home and hole, between soft and porn, between death and DIY, blooms a delicate flower. And here, under the rose, lies a way inside you, inside all of us. And here, under the rose, we can see: an empty body is filled by the mind alone.–Nele Ruckelshausen
The publication 'sub rosa appendix' (/20, 40 pages) is available through OPEN STORE.
Ushirode, 2017Geddert Hronjec Collection, Berlin DEInstallative solo performance with a nawashi (shibari master), ropes, a bondagering and nitro. https://youtu.be/XtXphFCWnik
Oslo10, Basel CH
“If it exists, there is porn of it. No exceptions.“
– Peter Morley-Souter
Philanthropic approaches mutate into inhumane regulations; fantasies turn into nightmares;
tribe behavior increases into massacre; love degenerates into fetish;
Minnesang grows into fanfare; esoterism matures into wizardry.
Culture evolves into cult.
There is only one direction.
rule#34 by Julian-Jakob Kneer in collaboration with Blue Stork was hosted by Oslo10 as its fifth webresidency.
It was launched on January 5th 2017, 7pm CET.
mannequin, papier-mâché-mask, textile suit, silk ribbon, metal chain, latex gloves, latex stockings, lacquer on wooden shoes
From the group exhibition:Gentle Heterodoxy. Social Body and its Enchantmentsfffriedrich, Frankfurt am Main, DE
29.09.–09.10.2018Curated by Sebastjan Brank & Dennis Brzek, with works by:
pole, 2018weathered paint on lathed wooddimensions variable
From the group exhibition:A night in Alexanderbrowser-based group exhibitionhttp://anightinalexander.grCurated by Gregory Blunt, with works by: Gregory Blunt, Karim Boumjimar, Drew Lint, Lukas Hofmann and Hara Shako Kiri, Paul-Alexandre Islas, Julian-Jakob Kneer, Metasitu, Maria Metsalu, NBDBKP, Karol Radziszewski, Zuzanna Ratajczyk, Paul-Stuart Sandford, Fritz Marlon Schiffers, Anna Uddenberg, Young Boy Dancing Group
Cradle, 2017package tape60 x 40 x 40 cm
Crib, 2017 (in collab. w/ Yves Scherer)wood, straw, package tape, fir, spots, jute, hardwaredimensions variable
GTdaHÖ, 2017Ambassador ******, Vienna AT
Exhibition in a hotel room in Vienna I curated together with my mom.with: Philipp Friedrich, Birke Gorm, Flora Hauser, Victor Lizana, Bruno Mokrossich brauche das gar nicht dass mich an jeder ecke 500 jahre geschichte anfallenüber der tür der Hotel Suite hat man dann eine moderne lüftung angebracht, für ein bisschen gegenwartsgefühl(was ist das eigentlich)Ja das ist eine Klimaanlageohne die kunst erscheint mir das gar nicht kontemporärFranz Lehár sitzt immer noch in den blauen kissenkaffee kuchen mozart ambassadorich denke ich bin jetzt vor acht generationen angekommen–Hanna Fiegenbaum
HOOKED, 2017in collab. w/ Eva Collé
From needle work through sex work to art work.Visual artist Julian-Jakob Kneer and model & sex worker Eva Collé merge their professions to reimagine the used panty business:Kneer's handknitted panties are worn by Eva and subsequently encased in plexiglass. The process is documented through selfies and snapshots over the course of the production.The art edition of 8 used panties is for sale – see credits for further information:
International blood drinker, 2016w/ Clémence de la Tour du Pin, Gärtnergasse, Vienna AT
International blood drinker is a duo show of Clémence de La Tour du Pin and Julian-Jakob Kneer.Star and Starting point of the show is Saint Mother Theresa. Being famous for her charity work in Calcutta, the show deranges the perception of Mother Theresa and brings it in close proximity with a rather infamous depiction from which her undying holyness displays certain similarities to the immortality and behaviour of vampires.Stepping over the oddly soft Lilith (Clémence de La Tour du Pin, Julian-Jakob Kneer) the visitor sees the crusaders crucifiction: a collection of unwittingly baptised Calcutta ClipArt (Julian-Jakob Kneer) spirits. Against the uncanny feeling, which slowly slips in, Scarecrow (Clémence de La Tour du Pin) does not afford protection. In fact, it heightens the glimpse of revelatory disenchantment by bending over your head full of blood into the cold white enlightened artspace.
slime, cigarette butts
From the group exhibition:
Kosmetiksalon Babette, Berlin DE
Curated by Bruno Mokross and Malte Zander, with works by:
Aline Sofie Rainer, Bernhard Heuser, Dan Vogt, Judith Dorothea Gerke, Julian-Jakob Kneer, Julija Zaharijević, Laurids Oder, Niklas Büscher, Victor Lizana