Julian-Jakob Kneermailinfo@artde666enerateCURRENTfrottage (solo), Limbo, Berlin DE (29.06.–18.08.2019)UPCOMING EXHIBTIONSTeen Ranch, Main Street, Toronto CACold Prey, Lubov Gallery + Underground Flower, New York UStending towards, AMOQA, Athens GRsolo, shore gallery, Vienna ATsolo, Smallville, Neuchâtel CHUPCOMING MISCMANHOLE, publication conceived by Lowe PoulterGruppe Magazine, Launch during Berlin Art Week 2019GRUPPE EXPO1 Amalia Ulman2 Yves Scherer3 Wieland Schönfelder4 Pierre Klossowski
Limbo, Berlin DE
In the lavishly indulgent excess of Rococo with its moodily curved, delicate and yet overbearingly sprawling forms, the ornament begins to devour the image, its essential counterpart, replacing it with ruthless ease. Inevitably, the ornament’s emancipation of its host and serving purpose, once making it viable as embellishment, seems to result in its own suspension. At the same time, however, to question its function and ultimately shedding itself of such, may lead the ornament to find its way into a liberated void form, inhabiting potential yet to be realized.
In our presence, though behind glass, said form swells up, casting off the logic of adornment and symbolization. Emptied and sublimated at once, it self-sufficiently seems to merge into the promises of L’art pour l’art on the one hand, and complex ambivalences on the other. While its mannerist carved appearance gracefully pays homage to craftsmanship, in the midst of the collaged eccentricity, one might detect a sense of the cutting austerity with which the act of appropriation sometimes incorporates aesthetic material. Thus, the form oscillates with irritating ambiguity between the assertion of a preserved relic and the appropriation of it.
Employing the graphical method of frottage, the Victorians preserved decoration of tombstones considered particularly beautiful, by rubbing their surface structure on paper with the help of drawing tools. As an appropriation technique, it fetishizes a pre-existing object and its trace, transforming it as aesthetic material. With regard to the pluralism of styles within historicism, and its rhetoric – which, like the ornament’s, fell into disrepute during modernism – tensions between the isolated object before our eyes and the world around it become apparent, relating to value, its transformation and contingency. For an instant, a form, similarly familiar and strange, appears to be freeing itself from determination. Immediately, it is, and always has been, confronted with new wishes and desires, lustfully pushing towards occupation.
The exhibition frottage is supported by Kulturbeirat Charlottenburg-Wilmersdorf and the Swiss Embassy in Berlin.
LosVer, 2019leather roses, digital embossing on moiré-silk ribbon
From the group exhibition:L'amourFetisch-Hof, Berlin, DE23.06.2019Curated by TZVETNIK, with works by:Vitaly Bezpalov, Maria Bogoraz, Cédric Fargues, Yannick Val Gesto, Julian-Jakob Kneer, David Linchen, Haydée Marin Lopez, Wieland Schönfelder, Ilya Smirnov, TOY
ornament sublime, 2019
Lucas Hirsch, Düsseldorf DE
They stand in the space, in a garden of impenetrable shadow and hard light, fatal to the charm exuded by the life of flowers, with discretely encrusted diamonds and strings or rings or chains or crowns of thick pearls enclosing their swelling and stretching bodies, tense and tight in sublime hardening and contempt, their wood brittle and splitting, ducking and stiffening at the same time, riddled with hostile metallic spikes and stakes that testify to their infinite humility, as if despotic power had withdrawn into the unique pattern of adornment, into the exhibition of an empty fortress or the motionless dance of monuments that no longer demand a ministry of respect but seek the dumb and blind gaze of devotion, at the limit where they turn into ornaments for the first time, their accomplishment lying in their inability to touch themselves and hence create signification.
–Alexander García Düttmann
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.
The consecutive yet independent 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
GTdaHÖ, 2017Ambassador ******, Vienna AT
Exhibition in a hotel room in Vienna I curated together with my mom and Bruno Mokross.with: Philipp Friedrich, Birke Gorm, Flora Hauser, Victor Lizana.ich 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
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