- Exhibition
POST FUTURE
- Mixed Media
- Text
Dates
Open Call:
Closed
Exhibition in form of a magazine (print & online)
Stating to live in the post future is the artist’s way to say: „We, those who take part in artistic and cultural practice, are ahead in time compared to those who are still having the attitude of someone living in the present. We take action, we influence our times and the future with our artistic practice and the way we are living.“
Salat Magazin looks forward to collect and curate exciting and fresh, practical and theoretical approaches to our turbulent times and the times ahead. We are looking for dealings with contemporary and future matters in any medium, such as works of art, literary texts or theoretical texts and research regarding important contemporary questions and ways of cultural practice:
What will happen to our society? How can art become politically active without losing its self-purpose? How can it act against racism, sexism and climate change? Can fine arts and activism be connected to each other? Does art have to be activist in our times? Does art have to be explicit in order to have an impact on politics? How are the fields of arts and culture going to change in the next few years due to technical progress and other influences that will have impact on the reception of art and also on its making? What are ways to deal with all this? And last but not least: What are young, fresh and interesting positions that will stay relevant in the future?
We are eager to have a look at these and more questions from various perspectives.
The magazine will be released digitally and on paper in early 2021. Photographers, designers, artists, writers – everyone can apply! We are interested in international approaches in different languages with english translations.
Please upload artworks via previous.nextmuseum.io and send texts or questions to: salatmagazin@gmail.com
Participate
Exhibition in form of a magazine (print & online)
Stating to live in the post future is the artist’s way to say: „We, those who take part in artistic and cultural practice, are ahead in time compared to those who are still having the attitude of someone living in the present. We take action, we influence our times and the future with our artistic practice and the way we are living.“
Salat Magazin looks forward to collect and curate exciting and fresh, practical and theoretical approaches to our turbulent times and the times ahead. We are looking for dealings with contemporary and future matters in any medium, such as works of art, literary texts or theoretical texts and research regarding important contemporary questions and ways of cultural practice:
What will happen to our society? How can art become politically active without losing its self-purpose? How can it act against racism, sexism and climate change? Can fine arts and activism be connected to each other? Does art have to be activist in our times? Does art have to be explicit in order to have an impact on politics? How are the fields of arts and culture going to change in the next few years due to technical progress and other influences that will have impact on the reception of art and also on its making? What are ways to deal with all this? And last but not least: What are young, fresh and interesting positions that will stay relevant in the future?
We are eager to have a look at these and more questions from various perspectives.
The magazine will be released digitally and on paper in early 2021. Photographers, designers, artists, writers – everyone can apply! We are interested in international approaches in different languages with english translations.
Please upload artworks via previous.nextmuseum.io and send texts or questions to: salatmagazin@gmail.com
Curatorial statement
We would like to thank you for all the submissions for Post Future, we were very pleased with the interest and a diverse field of participants. Making a final selection was anything but easy, as there is no recipe and no clear criteria for the quality of artistic work and decisions in this regard are subjective as well as influenced by the discourse in our environment. Nevertheless, for our selection we have considered a few vague criteria. Here are a few Examples:
The first of these criteria was the relation of the submitted artistic work to the medium of the publication. Of course, we had to ask ourselves whether the work could be integrated into a magazine.
The second criterion, which is particularly important to us, is the "sustainability" of the engagement with artistic works. In our opinion, this sustainability of positions arises from the fact that they remain open to a certain degree and leave room for maneuver. In our open concept of art, in which there are many legitimate positions, practices and views on artistic work, we particularly prefer those that are not clearly legible and that allow for ambiguity. A good example for an Open Call submission that fulfills this criterion would be the work of Boaz Yosef Friedmann.
Another criterion is the relevance of a topic or work. Here you can find for example Kendra Katharina Witzel's contribution, which deals with questions of contemporary artistic production.
An unpretentious, profound exploration we found in the poem by Akasha Daley, which skillfully challenges the white, Western perspective. Her work is direct but by no means striking.
The variety of approaches across a wide range of media is complemented, for example, by Joshua Poschinski's bitingly compelling literary text, which seems to work off the art market with all its superficialities.
We were also pleased to see many international perspectives, such as Corentin Leber's from Paris, from whom we learned about conceptual works that were very interesting to us.
Gowoon Lee's contribution already seemed to fit the issue perfectly at first glance. We are big fans of this open thematization of a phenomenon that is familiar to many asian people: Everyday racism. But we also find the work successful on a purely aesthetic level.
We chose works that we were convinced met our criteria - as well as our concept of art and our aesthetic standards. We had already a rough sketch of the project in mind, which then took shape and was consolidated and solidified by the submitted works.
Finally, it remains for us to say that we see the curation of the magazine as a part of our artistic practice and that decisions within it do not always have to be justified since it is free and decision-making processes can also take place intuitively and non-verbally. Nevertheless, with these few examples we hope to have made clear some of the points that were important to us in the selection of the works.
We look forward to publishing the issue soon!
Yuni Hwang and Roland Sonnabend
