Una Szeemann, One silent drape, 2019. Detail
Una Szeemann, One silent drape
2019. Molleton fabric, stage props, size variable
A silent drape once said:
“Yes, I hang stoically. I’m the black drape of this great theatre, falling from ceiling to floor.
It’s me, the faithful element, that becomes almost invisible.
You can feel my weight, pulling, stretching, and folding me into place.
I’m a sponge of odors, sweat, tears and makeup, joy and drama, intention and defeat.
I frame my surrounding and make the rest of the world vanish. I create situations, spaces, depth and intensity.
I embrace the ones in front of me, giving them a body to move in.
Through me the sound is warm and dense.
Not only I do absorb transfers of passion, but also intensions of stories. Remembering them all, they are within me – the good and the bad ones, and the reasons they have been told.
All of this I do with and for you. Enfolding all you see, hear and feel – if you are willing to play my game, I’ll make the rest disappear.
I’m the transforming cocoon where for a moment illusion turns into reality.
So yes, I see myself not as a thing, but a character heavy on wisdom.
For my last act I wish to take over the scene, swallowing my fragile and artificial partners on stage, with all the drama, and, most of all, to finally unfold my many selves.”
Bohdan Stehlik, Some Stains Decay, Others Do Not, 2019
Bohdan Stehlik, Some Stains Decay, Others Do Not
2019. Installation, print on tarpaulin
A stain might decay, leaving you no choice,
Whether you like it or not.
But do stains need a surface,
Just to be seen?
Who knows, as when some dry,
Or do whatever they want,
Others are here to stay.
Indifferent, it seems.
Is it for the crafted ones — call them as you wish,
To stay here and impress?
Maybe even time won’t tell,
Regardless of their nature.
And regardless, I like to see myself as one.
Hard to tell,
If.
Bios
Una Szeemann’s installations follow material traces and transferences of invisible phenomena. An approach and exploration, through the possibilities of parallel thinking and an investigation between the complex relationship of reality and illusion. In addition to her artistic practice, she is involved in curatorial projects and publications. Since 2006 she collaborates regularly with Bohdan Stehlik.
Solo shows include: In, um es herum und unterhalb Kunsthalle Winterthur and Kunstraum am Schauplatz Wien; Dann Immer Erst, Immer Erst Dann. Museo Cantonale Lugano; Assumption over Matter Townhouse Zurich; Montewood Hollyverità Alexandre Pollazzon Gallery, London; Kodama Gallery Tokyo; Haswellediger & Co. Gallery, New York.
Group shows include: Paradise, Lost Weiertal Biennale; Digital Ecologies – Fold I / II, Contemporary Art Center Plovdiv; What people do for Money Manifesta 11, Zurich; Sviluppo - parallelo Kunstmuseum Luzern; The Day will come when Photography revises Kunstverein Hamburg; Utopie Gesamtkunstwerk 21er Haus, Belvedere Vienna; EXPosition of mythology - ELectronic technology Nam June Paik Art Center Korea; Vilnius is Blurring Fondazione Sandretto Re Rebaudengo, Torino; Contour: Biennial for Video Art, Decoder Mechelen; 00s-The history of a decade that has not yet been named Lyon Biennial; Hamsterwheel Venice Biennale; Superstars Kunsthalle Wien; Scene de Vie Centre Culturel Suisse, Paris; The Beauty of Failure, The Failure of Beauty Fondacion Miro’, Barcelona.
Bohdan Stehlik’s work, is it, is he? Oh yes, thank you for asking, I’m doing well, and my work is coming along quite nicely. It’s just that it takes some time to figure out if it all makes sense. You see, I’m only interested in what I consider to be fundamental matters, and, well, you understand. Since 2006 I’m collaborating regularly with Una Szeemann.
Solo shows include: Affaires de scène Zentrum Varese; Dann immer erst, immer erst dann Museo Cantonale Lugano; Assumption over Matter Townhouse Zurich; White Nights, Dark Dreams CAC Centro d’arte contemporanea Bellinzona; Les fantômes Centre pour l’image contemporaine Geneva.
Group shows include: Sviluppo – parallelo Kunstmuseum Luzern; The Day will come when Photography revises Kunstverein Hamburg; Vilnius is Blurring Fondazione Sandretto Re Rebaudengo, Torino; Contour: Biennial for Video Art, Decoder Mechelen; 00s-The history of a decade that has not yet been named Lyon Biennial.