Veit Stratmann, é um dos artistas convidados do programa OUT THERE. Veit escolheu o Café Ceuta, um dos cafés mais emblemáticos da baixa da cidade do Porto, para residir e criar o seu trabalho. Iniciou a 30 de Outubro, e termina a 10 de Novembro'17. Veit Stratmann estará de Segunda-feira a Sábado das 12h às 17h neste local, receptivo a qualquer interpelação do público curioso. Na Quarta-feira, 8 de Novembro às 20h neste contexto iremos apresentar a selecção de video-arte de Gerry Schum e o seu projecto "Fernsehgalerie" / "Television Galerie". E uma sessão de partilha na Quinta-feira, 9 de Novembro, às 18h30 no Café Ceuta. www.mezzanine.pt OUT THERE 30.10.2017 - 18.11.2017 Curadoria Ana Rocha, Jorge Gonçalves e Pedro Rocha Artistas Veit Stratmann, Winnie SuperHova & Samuel Draper, Hamish Fulton, Claudia Hill, Rui Catalão, Pedro Tudela, Ricardo Jacinto, Nicholas Bussmann, Maile Costa Colbert & Rui Costa e Alejandra Salinas & Aeron Bergman Colaboração Café Ceuta, Passos Manuel, Centro Comercial Bombarda, Maus Hábitos - Espaço de Intervenção Cultural, Café Candelabro, Mão Esquerda - Vintage & Second Hand's first, Kate Skateshop, Musi Meios, Gelataria Doxa, Barbearia Porto, Duas de Letra, Inktoxica, Galeria Patch Lifestyle Concept Store, senhor PRUDÊNCIO e Rádio Manobras Design Gráfico Marta Casaca Organização e Produção MEZZANINE Co-Produção Pelouro da Cultura da Câmara Municipal do Porto Apoio Goethe-Institut Portugal, Escola Superior Artística do Porto e Mala Voadora ______________________________ "For years now I thought of a sequence in the Paul Auster/Wayne Wang/Harvey Wang Movie BLUE IN THE FACE, where the corner store keeper Augie Wren shows the pictures of his street corner, he takes every morning as a kind of ritual to pay indirectly for a camera he had stolen years before. And I am very interested in the question, who, in visual arts, hold the authority for the time spent in the presence of a work of art or the production of such a thing. So I thought, as one part of the presence in the Café Ceuta, it would be a worthwhile experience to take every day during the same hours, in the same interval of, say, 10 to 15 minutes, a picture from the same spot on a the same table in the same angle with the same protocol. The pictures should be taken frontally from my chair, in table height, as to return the space like a sock by viewing it from a level people generally look at but not from ; to create a sort of central layer, which usually is the stage, the bragging part of a café but not its lookout. I presume the pictures coming out will be out of context in context – a materialized layer between two voids. In the same time, the rhythm is just a technical arbitrary question, a protocol without any direct link to the activities in the café, a sort of temporality that squeezes itself in between all those urgencies and slowings down that make the place. I have no idea what comes out, but it will be worth looking at as a sum of information, maybe as something to be analyzed. I don’t know if it is a work of art or just something an artist did. The 10/15 slot is chosen because I would like to have the time to live the space and see if another adventure, I can not foresee, comes up." ______________________________ Born in Bochum (Germany), Veit Stratmann lives in Paris. Stratmann's work essentially rests upon questioning: can an artistic gesture be based on the notions of choice, of decision-making, of the posture of those who encounter the artwork? Can this decision-making become constructive material? If political action originates in the act of making a choice, can an encounter with art generate a permanent oscillation between a political and an artistic gesture? Does a work of art have to add “meaning” or “sens” to a given space or situation or can an artistic gesture undo the coherence of a given contexte, create a “parenthesis” or construct a loophole in its meaning in order to generate a statutory blurring? Can this statutory blur become creative matter? The artist’s works are often site specific although he has also shown extensively in gallery and museum contexts. There is as well a series of “unrealisable” pieces, based on the tension between the ethics of a person as an artist and the same person as a citizen - and on the question if this tension can become creative matter. Drawing and writing are also ongoing areas of engagement for Stratmann as tools of projection, control and distancing. Veit Stratmann has presented his work widely and internationally. At the Museum Folkwang in Essen, Fondation Serralves Foundation in Porto, Portugal, the Kunstmuseum Basel, Switzerland, Musée d’Art Contemporain du Val de Marne MAC/VAL, Vitry sur Seine (France), After the Butcher, Berlin, Germany, Centre d’Art et de Diffusion Clark in Montréal, Canada, CAPC-Musée, Bordeaux, France, The Project Art Centre in Dublin, Ireland, The Taedok Science Town in Taejon, South Korea, LiveInYourHead-Institut Curatorial de la Haute Ecole d’Art et de Design, Geneva, Switzerland, L’Institut d’Art Comtemprain in Villeurbanne, France, The Anderson Gallery at the Virginia Commenwealth University in Richmond VA, USA, The Nevada State Museum of Art, Reno NV, USA, The Miro Foundation, Barcelona, Spain, Le Musée d’Art Moderne de la Ville de Paris, France, the Saarlandmuseum in Saarbrücken, Germany, Villa Romana, Florence, The Projectroom, Seattle, USA, Centre de la Photographie, Geneva, Switzerland and Galerie Chez Valentin in Paris.
