展览名称：三轮车与塑料拆迁军--赖那•普罗哈斯卡
开幕式：星期六，2010.7.24  16:00-19:00
展览日期：7.25~8.22
主办单位：安妮画廊
北京市朝阳区酒仙桥路2号798艺术区797东街
电话： 86-10-8456 7783
anniart@sina.com
www.anniart.com
画廊时间：10:30~18:30
周二--周日，周一闭馆

“三轮车与塑料拆迁军”是赖那﹒普罗哈斯卡通过在北京居住期间的观察体验完成的一个实验项目。

2008年冬季，他在制作改装三轮车 – 这种非常中国式的三轮载物脚踏车的同时，就有了这次“三轮车”展览的想法，展示他改装制作的各种不同的三轮车。

2010年赖那一回到北京，就一头钻进展场附近的一间被拆得七零八落的空间。和2008年他骑着改装的三轮车在全北京市区乱转比起来，这次是在一个封闭的空间内处理氛围，在有限的空间里把一些可能性变成现实。

在这个堆满残砖断墙，就像正在到处拆迁的北京郊区的空间里，他辟出客厅、车库、展厅兼工作室。结合中国当代工业材料的使用，创作出“塑料拆迁军”装置作品。

这次在安妮画廊的空间将展出赖那制作改装的各种三轮车及其结构图，以及一个大型现场装置。在满是灰尘的房间里，用物体、文件和图片给我们展示了一个在废弃空间的环境影响下创作的装置。

赖那﹒普罗哈斯卡
2010年6月16日
中国北京
 
SAN LUN CHE featuring the TERRAPLASTIC ARMY
Rainer Prohaska

Opening reception:
Saturday, July 24, 2010, 4-7 pm
Exhibition: July 25 - August 22

Anni Art
797 East Street, 798 Art District
2 Jiuxianqiao Road, Chaoyang District
Beijing, China
Telephone: 86-10-8456 7783
anniart@sina.com
www.anniart.com
Opening hours: 10:30 am-6:30 pm
Tuesday - Sunday, Monday closed

'SAN LUN CHE featuring the TERRAPLASTIC ARMY' is based on experiments and observations during Rainer Prohaska's residencies in Beijing.

While building modifications of the 'SAN LUN CHE', the typical Chinese three-wheel-cargo-bikes, in winter 2008, he configured this show, which exhibits variations of modified 'SAN LUN CHE'-vehicles.

Returning to Beijing in 2010, Prohaska additionally started to squat a dirty room behind his exhibition space. Compared to 2008, when he used the whole city as an artistic playground, this process now turned out to deal with the atmosphere and the restricted contingences of a single room, an off space in the 798 art district in Beijing.

A hybrid of living room, garage, studio- and exhibition-space appeared. Influenced by tons of boulder in the room, reflecting the huge dwelling-demolitions in the suburbs of Beijing and inspired by contemporary materials of China’s industry, a series of works like an installation called 'TERRAPLASTIC ARMY', was created. 

At 'ANNI ART Gallery', Prohaska shows modified 'SAN LUN CHE'-vehicles and their construction graphics. Additionally to these elements, he shows also an installation in the dirt-chamber behind the Gallery with objects, documents and photographs, created under the climatic influence of a deserted space.

Rainer Prohaska,
June 16, 2010,
Beijing, China

http://www.rainer-prohaska.net

 

 

 

 

SAN LUN CHE featuring the TERRAPLASTIC ARMY
Rainer Prohaska

Eröffnung:
Samstag, 24. Juli 2010, 16:00 – 19:00 Uhr
Ausstellung: 25. Juli – 22. August

Anni Art
797 East Street, 798 Art District
2 Jiuxianqiao Road, Chaoyang District
Peking, China
Telefon: 86-10-8456 7783
anniart@sina.com
www.anniart.com
Öffnungszeiten: Dienstag – Sonntag, 10:30 - 18:30
Montag geschlossen

'SAN LUN CHE featuring the TERRAPLASTIC ARMY' basiert auf Experimenten und Beobachtungen, die der Künstler Rainer Prohaska während seinen Aufenthalten in Peking gemacht hat.

Während er im Winter 2008 ein 'SAN LUN CHE', das typisch chinesische dreirädrige Transport-Fahrrad, künstlerisch bearbeitete und umbaute, konfigurierte er diese Ausstellung, die Variationen modifizierter 'SAN LUN CHE'-Fahrzeuge zeigt.

Bei seiner Rückkehr nach Peking 2010, begann Prohaska zusätzlich einen ungenutzten verdreckten Raum hinter seinem Ausstellungsbereich zu besetzen. Verglichen mit 2008, als er die gesamte Stadt als künstlerischen Spielplatz nutzte, beschäftigt sich dieser Prozess nun mit der Atmosphäre und den beschränkten Möglichkeiten eines einzelnen Raums, einem Off-Space im 798 Kunstviertel Pekings.

Ein Hybrid aus Wohnzimmer, Garage, Atelier und Ausstellungsraum entstand. Beeinflusst von Bergen von Gesteinsbrocken im Raum, reflektierend auf den übergreifenden Abriss von Behausungen in den Vororten Pekings, und inspiriert von modernen Materialien in Chinas Industrie, entwickelte sich eine Serie an künstlerischen Arbeiten, wie eine Installation namens 'TERRAPLASTIC ARMY'.

In der Galerie 'ANNI ART' zeigt Prohaska modifizierte 'SAN LUN CHE'-Fahrzeuge und deren Konstruktions-Grafiken. Teil der Ausstellung ist zusätzlich eine Installation im Off-Space hinter der Galerie, mit Objekten, Dokumenten und Fotografien, die unter den speziellen Einflüssen des leeren Raums entstanden.

Rainer Prohaska
16. Juni 2010
Peking, China

http://www.rainer-prohaska.net

 

Triumph of Zip Tie: The Persistence of Tinkering

Taking on quite varied appearances, the basic outline of Rainer Prohaskas work is rather simple:
Imagine you are out in the country. It is hot outside and you need a cold drink. So, first, there has to be a fridge. But then, do you really want to drink while standing? So once you are sitting down on the makeshift chair which is quickly built from some bricks, two tension belts and a piece of wood covered in plush, obviously you also need a table to put that drink on.
Thus the easily understandable chain of circumstances that leads Prohaska to build kitchen tables that overlook tall hedges, perfectly maneuverable ships which can be disassembled yet lived on for months, or chinese san lun che covered in 200 square meters of womens stockings.

Prohaskas knowledge, once faced with something which to him seems to be a void, spans elegantly from the awareness that all the modules of the work he is scheming up are already there to the ability of isolating obvious solutions. Being a true friend of change, he is interested in process, improvisation, immersion, and, it seems, again and again in participation. His art is ideally interactive and he sees it as a clear statement against interpassivity (1). Classically, he believes in arts potential to restructure society, and then, quite contemporary, he believes in art as being the only place which gives one the freedom of not necessarily having to think about the limitations of producing for the market.

And so there we are. Can you restore your innocence? (2) If you are brave enough to enter Prohaskas orbit, quickly you will either be a part of his cooking performance, skinning a carrot or fulfilling another module of his sliced-up cooking process, cruise the streets of Beijing in a vehicle which provokes screams of surprised approval from hundreds of innocent chinese pedestrians, find yourself in an inflatable pool surrounded by countless inflatable crocodiles or all of the above.
Either way it will be a form of reality that is only slightly modified by the sole new composition of its inherent parts but is still infinitely better than you thought it could be.
Dream it up and tell Prohaska, all he needs is electricity, water, 2000 H20 Formwork beams and 2000 tension belts.

Bianca Regl

(1) Robert Pfaller (Hrsg): Interpassivitaet, Studien ueber delegiertes Geniessen, Springer, Berlin, 1999
(2) Peter Fischli/David Weiss: Will Happiness find Me? Walther Konig, Cologne, 2003

Triumph of Zip Tie: The Persistence of Tinkering
赖那﹒普罗哈斯卡 的创作呈现出多变的表象，其基本意象则很单纯：想象你正置身于某处村落，天气很热想喝一杯冷饮。首先，需要有一个冰箱；然后——你真的想站着喝啤酒么？一旦你坐在用砖头 木板、两条松紧带和一块绒布临时速造的椅子上——显然还需要一个可以放那杯冷饮的桌子。
通过上述例子便很容易理解 普罗哈斯卡 作品中的细节线索，它们隐藏在那些餐桌以及覆盖在200平米女式丝袜下的中国三轮车之中。
普罗哈斯卡 知道，一旦面对空虚和无意义，便要能优雅地跨越作品的既定模式去找到明确的解决方案；他从不缺乏变化，理论上讲他的作品是互动式的，并明确对立于"互卸"（Robert Pfaller）。他相信艺术是有可能改组社会体制的，并且是泛市场化之外唯一的自由领域。
你能证明你的清白么？（Peter Fischli，David Weiss）如果你足够勇敢地进入 普罗哈斯卡 的轨道，那么很快你就是会变成他表演的一部分。无论哪种形式的真实，都只是略被修改的新的组成部分，但其内在还是比你所预想的要好得多。
想象一下那样的场景吧，告诉 普罗哈斯卡 他只需要电，水，2000个H20工字木梁和2000条松紧带。