“I think the real winner in this transaction
will have been women, on both sides. Let this
remain a conjecture for the future anterior,
to be opened up, again and again.”
Gayatri Chakravorty Spivak
Archeology of the future or a prospective past? Future II, or, as this tense is also called: future perfect is a paradoxical grammatical construction. Those who use this tense to make a statement about the world create facts that do not exist yet. They describe the completion of an action in the future from a past perspective. This “will have done” downright runs past itself. However, future perfect is always highly uncertain. The linear progression of current conditions is one of the driving forces behind economic and technological developments. At the same time, there is a lack of visions for a better tomorrow, overshadowed by the desire to return to a better yesterday, which in fact never really existed.
With its annual program Future Perfect, Kunstraum Lakeside draws upon the program of Future I, which was conceived exactly 10 years ago. The curators at the time stated that “grand concepts of the future command little political or media prominence, while engagement with utopias and radical social blueprints do however constitute an important theme for contemporary art and theory”. Little has changed a decade later. In light of the tangible implications of global warming and the erosion of familiar (geo)political orders, the situation has become even more critical: The future itself—as a horizon for actions and decisions—seems to have gone lost. Hence, the annual program 2021 at Kunstraum Lakeside will be centered around artistic explorations into what will perhaps have been. It is about how future can be created with artistic means—very concretely in the here and now. Parallel to future solutions, which are being elaborated at the Lakeside Science und Technology Park on a daily basis and a variety of levels, the artists speculatively intervene in a future that leaves behind everything taken as a given.
Gayatri Chakravorty Spivak, Imperatives to Re-Imagine the Planet (Vienna: Passagen, 1999), 80f.
Nika Kupyrova — Yaekahngai
Opening day, March 23, 2021, 12 – 6 pm
Exhibition, March 24 – April 23, 2021
Statement #11 | Ernst Logar — Crude Oil Experiments
Performative setting, May 6, 2021, 3–7 pm
Anetta Mona Chişa & Lucia Tkáčová — havoC, anaeMia, A tacticaL knoT, us
Opening day, May 18, 2021, 3–7 pm
Exhibition, May 19 – June 25, 2021
Statement #12 | Verlag für Handbücher — Safe Operations
Performative setting, July 1, 2021, 4–8 pm
Statement #13 | Anna Bochkova — Philosophy of the Common Matter
Performance, September 2, 2021
Exhibition, September 3 – 10, 2021
Katrin Hornek — Latent Soils
Opening, September 30, 2021, 7 pm
Exhibition, October 1 – November 5, 2021
Statement #14 | Guilherme Maggessi & Rafał Morusiewicz — Duration Trouble (In the Meantime of a Wormhole #1)
Performances, November 16, 2021, 6 and 7 pm
Open Space, from 4 pm
Statement #15 | Mark Fridvalszki & Zsolt Miklósvölgyi — A World Without Any Future?
Performance, November 23, 2021
Statement #16 | Eva Seiler & Johanna Tinzl — Beyond Future
Opening and talk, November 30, 2021, 6 pm
Exhibition, December 1 – 23, 2021
Statement #17 | Marie-Andrée Pellerin — Speculative Keys
Performance, January 18, 2022
Statement #18 | Eva Engelbert — Keep moving, also while standing
Performance, January 27, 2022
Each year, Kunstraum Lakeside devotes its program to a specific theme derived from its special standing as an institution for exhibition, performance, and discourse. The Kunstraum’s integration into a Science and Technology Park, and the linking of its events to the semester program at the University of Klagenfurt, raise questions about how visual artists interact with the fundamentals, possibilities, and limits of current knowledge production. The artistic program focuses on fields of action that can be subsumed under the term “artistic research.” Artistic research, like art in general, allows us to gain aesthetic experience. In addition, however, it also offers artists an opportunity within their respective art practice—i.e., using their own media, formats, and modes of representation—to contemplate the framework conditions that govern their activities while keeping a close watch over the impact of their actions. Embedded in social, historical, and cultural interpretation contexts, artist research therefore enables us to respond to the constantly changing realities of our society.