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2 curators-2 shows-the same artists

For the next show the Grim Projects curators invite Berlin Artists to take part in a curatorial experiment. Artists are invited to submit work proposals for the exhibition on an A4 page. They are asked to include visuals and information about the work such as title, dimensions, installation guidelines and refrain from giving any further details on their vita, galleries or other works.

The two Grim Projects curators review the submitted works separately and each chooses the ones she believes will make up the perfect group show.

The first show will be curated by Stokou and will be inaugurated in the absence of Leifsdottir (at the time on a residency in Island) on the 19. March. The second show, curated by Leifsdottir, ignorant of any details about the first show, will be inaugurated on the first of April.

What makes up a good exhibition? How many exhibitions can be curated out of the same group of artists? Is there an endless number of ways to put up the same group of art works or is there only one? Can two persons of different backgrounds and preferences come to the same or similar result using the same material?

All the submitted A4 pages will be printed, unedited, making up the catalogue of the exhibition.

A common misunderstanding as to the word Equinox (Latin aequus-equal and nox-night) is that it is often interpreted to mean: "equal day and night," but this is not strictly true. Equinoxes are not days (or nights), but rather the points in time, twice a year, when the tilt of the Earth's axis is inclined neither away from nor towards the Sun; the Sun being vertically above a particular point on the Equator.

What is true however about the equinoxes is that two observers at the same distance north and south of the equator will experience nights of equal length…

Despina Stokou is brunette. Mediterranean: Average height, brown eyes. She came to Berlin in 2002 from Athens. Her first name means Mistress, her last name means Plastering. She is a painter and a writer. She hates performances where anybody gets dirty, bloody or naked crawling on the floor. She has secret misgivings about photography as art. Her pain threshold in video art is 90 seconds; it gets considerably longer with a loud soundtrack and fast sequences. Close to zero when the video is black and white or sepia. She loves the smell, the texture, the feeling, everything about color. The only direction in painting she will not consider liking is pop art (Lichtenstein, Warhol), ah…and graffiti. She always feels jealous in front of a good collage. She is obsessed with psychological and gender issues and the idea that art can, should and will change the world. She will start and probably finish reading most of the texts in an exhibition- except the one describing the works, where her mind simply shuts down. Her worst nightmare in a show: Last documenta, the last Berlin Biennale, or any BB for that matter. Her paradise on earth shows: Sequence 1 at the Palazzo Graci (Francois Pinault Foundation), Utopia Station at the 50th Venice Biennale, the 100th and almost any show in Autocenter, Berlin.

Silja Leifsdottir is blonde. Scandinavian: Average height, blue eyes. She came to Berlin in 2007 from Glasgow, from Norway, from Island, where she was born, grew up, studied. Her name is pronounced Leif’s-daughter. Her first name means Blind. She is an artist. She wrote her thesis on Masochistic performance art, but she did not enjoy it. Once in a blue moon she will see a painting she likes, but she won’t know why, since she has little to no interest in painting. She gets the urge to run if she hears the word collage, she will however read all the text in an exhibition related to the pieces she hates, attempting to understand what she’s obviously missing out on. She will always remember the title on the pieces she loves, but rarely remember the artist’s names. The only medium she is likely to discuss is photography and she can spend hours watching video as long as there’s something to sit on. Installation and sculpture is also a favorite, especially if it has anything to do with science or the universe. Her worst nightmare in a show: Any large group shows where the artist work is completely out of context. Her paradise on earth show: Haven’t seen it yet, but Simon Starling’s show at Contemporary Kunsthalle, Børre Sœthre’s ‘For Someone Who Nearly Died But Survived’ and Ceal Floyers show at KW was really good.