The catalog of MAKE.A.MATCH will be published during spring 2014 by Revolver Publishing. Texts by Peter Ahorner, Annelies Bakker, Andrew Bernardini, Hugo Canoilas, Hila Cohen-Schneiderman, Karl Ferninand Kratzl, Ingela Johanson, Heather Harmon, Kate Whitebread and Katharina Schendl.

MAKE.A.MATCH, an experiment on collaboration, gives artists Carte Blance to do whatever they want to do, with one restriction: they have to collaborate with another artist, a stranger chosen by the curator.

What happens if this premise is put into action? What are the strategies the artists will use in these “arranged marriages,” set up by the curator? Who is the artist in this? Is it the “couple” or “triple” or the curator, the match-maker that ordained their mission? Will they last?

With ego and authorship, presence and credit, control over one’s image and career being some of the most powerful driving forces in the art world, would anyone risk a blind-date? Four duos and one trio, some same sex, some mixed did – and they had been the first to be asked. They have been sent out to meet, discuss and ideally develop a work in common. Match-making criteria, the formula for success, were in general that the paired artists have similar interests, differently translated in practice. The collaborations were staged in Basel, Los Angeles, Pristine, Tel Aviv and Stockholm throughout 2013 and took on unique ways on working together.

MAKE.A.MATCH was initiated by Katharina Schendl.


Credit: Tina Herzl
Reto Steiner + Martin Roth

 BASEL

 June 11th – 15th
BLG Erlenmatt Halle, Basel

 supported by Kate Whitebread



 Alona Rodeh + Florian Neufeldt

 TEL AVIV

 JULY 25th – AUGUST 25th

 at Hezi Cohen Gallery, 54 Wolfson Street, Tel Aviv

 supported by Ory Dessau



 Dren Maliqi + Paul Philipp Heinze & Matthias Krause

 PRISTINE

 OCTOBER 3rd – 17th

 Gallery of Ministry of Culture, Qafa Complex
supported by Erzen Shkololli / Director The Kosova Art Gallery


Ana Prvacki + Magda Tothova
LOS ANGELES
APRIL 20th – 27th
and VIENNA

 OCTOBER 10th – 13th
at Viennafair, The New Contemporary

 Messe Wien, Halle A, Eingang A, 1020 Wien
supported by Vita Zaman and Christina Steinbrecher



 Ingela Johansson + Hugo Canolias

 STOCKHOLM

 ongoing during OCTOBER
at iaspis and in the Streets of Stockholm

 supported by Lisa Rosendahl / Director iaspis
HUGO CANOILAS
born 1977 in Portugal, lives and works in Vienna/Austria

PAUL PHILIPP HEINZE
born 1981 in Germany, lives and works in Berlin/Germany and Vienna/Austria
http://pph.pm

INGELA JOHANSON
born 1976 in Sweden, lives and works in Stockholm/Sweden
http://ingelajohansson.net

MATTHIAS KRAUSE
born 1980 in Germany, lives and works in Berlin/Germany
http://crause.blogspot.com

DREN MALIQI
born 1981 in Kosovo, lives and works in Pristine/Kosovo

FLORIAN NEUFELDT
born 1976 in Germany, lives and works in Berlin/Germany
http://www.florianneufeldt.com

ANA PRVACKI
born 1976 in Serbia, lives and works in Los Angeles/USA
http://www.anaprvacki.com

ALONA RODEH
born 1979 in Israel, lives and works in Tel Aviv/Israel
http://www.alonarodeh.com

MARTIN ROTH
born 1977 in Austria, lives and works in NYC/USA
http://www.martinroth.org

RETO STEINER
born 1978 in Switzerland, lives and works in Frutigen/Switzerland
http://www.retosteiner.net

MAGDA TOTHOVA
born 1979 in Slovakia, lives and works in Vienna/Austria
http://www.magdatothova.com
Ingela Johansson + Hugo Canolias
during October
Mural Newspaper
STOCKHOLM
at iaspis and in the Streets of Stockholm

"We used the wall of the studio as a mood board for our ideas and to visualize our discussions and a part of a Mural Newspaper we wanted to develop together. The studio-based wall-work itself resulted in a public situation. After producing works indoors, attaching them to the wall, we also posted works in the public. The moment after the placement of the work in the public became a part of the whole wall. With the montage we used materials: A 4-paper, cardboard boxes, found cloths and ready-mades. We also copied original posters from the 68-movement front-figures with revolutionary slogans. There were an interest for us in mixing different messages and discourses concerning labor, since we both have practices were these issues are raised. We discussed the property of art-works in relation to the art market. Who does art belong to, the artists, the market – the professionalized field? “I belong to the commons”, was one of many statements that we decided to make a painting from. We also discussed: what activism means for us individually: how to appropriate languages from the streets: how ideologies from political movements are intertwined into the arts and what expression, virtuosity, we have appropriated from others."














 



Dren Maliqi +
Paul Philipp Heinze & Matthias Krause
Trapped in motion
October 3rd - 17th
PRISTINE
at Gallery of Ministry of Culture Pristine

Light, Sound, Video, Objects, Text & Decoration - These six media are the visual components of the exhibition by local artist Dren Maliqi in collaboration with German artists Matthias Krause and Paul Philipp Heinze. The six visual components function as reference points to what the artists actually experienced: the confrontation of making compromises.

It could have been an impossible challenge for Curator Katharina Schendl to get three completely independent artists to agree with each other; however they found common ground in the applied method, which in turn became the focus of the exhibition. The work on display forms the background of this method although in the exhibition they appear on the foreground. This contradictive tension between background and foreground gives the work its significance and at the same time makes it replaceable.

What leads to the notion of the displayed objects being treasures and the video an unfinished dialogue about the several trips the artists made in and around Pristine. The haunting music, the colourful lighting, the invisible white frame on the wall and the black, almost decorative marks all long for more. They refer to the artists’ personal archive of collected material in Kosovo. Each possible item within the archive could have been chosen as being part of the exhibition: all is replaceable.

To the collaborating artists this means there is much more to discover from their composed archive. This exhibition is only the first of many utterances to come.

Annelies Bakker

























 



Ana Prvacki + Magda Tothova
Let’s meet for coffee and see if there is enough chemistry to collaborate
April 20th - 27th
Los Angeles
and October 10th – 13th
at Viennafair, Vienna

Ana Prvacki and Magda Tothova first met in April 2013 in Los Angeles. They had three meetings, debating over coffee if there was enough chemistry between them to collaborate. – Five different genre movie trailers, from Love to Thriller are featuring their meetings.



 



Alona Rodeh + Florian Neufeldt
Under the weather
July 25th - August 25th
at Hezi Cohen Gallery, Tel Aviv

In search of reinterpretating the architectural structure in the given exhibition space (second floor of Hezi Cohen Gallery) Rodeh and Neufeldt are revealing a theatrical spatial effect. 

Neufeldt's architectonic intervention "Doppelgänger (walls with flaws)" takes place in the cubical niche in front of the entrance to the gallery's second floor. Neufeldt doubled a pair of parallel walls. He erected a wall onto a wall, and another wall in front of it. One horizontal rectangle was cut from one wall, a vertical one was cut from the other. Then the horizontal rectangular piece filled the vertical hole and the other way around. The result is a superimposition of a wall onto a parallel wall, and vice versa. The physical architectonic conditions of the space become a sculptural resource, and the rigidity of the contour is weakened. The space folds into itself, and emerges differently.
Neufeldt's superimposition is private and personal, idiosyncratic. It keeps away from programmatic rhetoric, and therefore remains concrete; an aspect of existential drama. 

Rodeh's video "Barking Dogs don't Bite" (1) is set in an empty commercial gallery that enters a cyclical process which seems to be automatic and self-inflicted: a smoke bomb is thrown into the space from an unknown source from above ─ one by one, all the defense mechanisms of a typical commercial space begin to act, in a composed performance. The empty space is filmed from both inside and outside, day and night during the activity of the alarm and fire distinguisher. 

The simulated auto-generation within Rodeh's work echoes the space's self-doubling within Neufeldt's work; the illusionistic mystification in Rodeh's video is the other side of the secret Neufeldt avoids when he reveals the traces of the rectangular cuts and replacements. There is an affinity between the works and each of them is inseparable from its specific spatial context, but this mutual dependency is not a simple connection, but a system based on splits, where each split causes another split and another one, until we are caught in a web of ongoing gaps.

(1) "Barking Dogs Don't Bite" was commissioned by the Arts Department, Tel Aviv Municipality for the exhibition "Province: Visitor Center" (Curator: Leah Abir), and wone 2nd prize for the Israeli Video-Art and Experimental Film, the Jerusalem Film Festival 2013. 
























 



Reto Steiner + Martin Roth
SUBLET
June 11th – 15th
at BLG Erlenmatt Halle, Basel

The Swiss artist Reto Steiner and the Austrian, New York-based artist Martin Roth have been working together on an exhibition in the framework of the artist collaboration project MAKE.A.MATCH.

Over the last 6 months Steiner and Roth exchanged thoughts to develop an installation together. Their initial idea was transformed and grew on-site after they first met during set up in Basel.

In a former warehouse Steiner built a roof like structure made out of timber beams, sheltered by laminate, commonly used for cheap flooring. This construction is animated by Roth as he sublet the space underneath transforming it into a dark dirty sub-terrain. He rubbed soil and dirt onto the wood and placed various types of fruit trees (cherries and apples) within the support structure. Their beautiful branches are puncturing and growing through the shinny shimmering fake wooden surface that reflects the sunlight.

Over a long period of time the work could develop as the trees are growing and the fruits will ripe and will fall and roll down the surface - transforming Steiner’s structure to a stage.













Katharina Schendl / Founder MAKE.A.MATCH

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SPECIAL THANKS to
Carel Brands/Dutch Embassy Kosovo
Ralph Schicker/Stiftung Habitat
Claudia Cavallar, Naoko Kaltschmidt, Ludwig Kittinger, Leni Michl, Nikolaj Nikitin, Renato Radicella, Tom Schneider, Ofra Harnam, Oren Hada, Dhurata Ramosaj and Phil