Yorgos Sapountzis

Utopie beginnt im Kleinen / Utopia starts small
12th Fellbach Triennial of Small Scale Sculpture

Utopie beginnt im Kleinen / Utopia starts small

Catalogue publication to accompany the 12th Fellbach Triennial of Small Scale Sculpture 2013, featuring the work of Armando Andrade Tudela, Leonor Antunes, Ei Arakawa & Nikolas Gambaroff, Anna Artaker, Vojin Bakic´, Neïl Beloufa, Bless, Arno Brandlhuber, Teresa Burga, Luis Camnitzer, Nina Canell, Lygia Clark, Nathan Coley, Thea Djordjadze, Maria Eichhorn, Michaela Eichwald, Felix Ensslin & Studierende*, Geoffrey Farmer, Yona Friedman, Meschac Gaba, Carlos Garaicoa, Isa Genzken, Konstantin Grcic, Günter Haese, Diango Hernández, Judith Hopf, Iman Issa, Christian Jankowski & Studierende*, Rachel Khedoori, Bodys Isek Kingelez, Jakob Kolding, Moshekwa Langa, Manuela Leinhoß, Anita Leisz, Anna Maria Maiolino, Victor Man, Cildo Meireles, Michaela Melián, Michele Di Menna, Charlotte Moth, Timo Nasseri, Manfred Pernice, Pratchaya Phinthong, Falke Pisano, Erwin Piscator, Rita Ponce de León, Vjenceslav Richter, Yorgos Sapountzis, Jochen Schmith, Nora Schultz, Eckhard Schulze-Fielitz, Yutaka Sone, Ettore Sottsass, Pascale, Marthine Tayou, Joëlle Tuerlinckx, Danh Võ and Haegue Yang.

With contributions by Yilmaz Dziewior, Angelika Nollert, Dieter Roelstraete, Thomas Schölderle, Kerstin Stakemeier, et al.

Edited by Kulturamt der Stadt Fellbach, Angelika Nollert, Yilmaz Dziewior

240 pages with numerous colour illustrations

Beyond the bounds of the visual arts, this accompanying publication also examines approaches from architecture, theatre and design by means of examples. Alongside historical positions, the focus is placed in particular on contemporary, young artists, whose works has frequently been created in situations of radical change in Eastern Europe, Latin America and Asia. As well as texts on the exhibiting artists, the accompanying catalogue includes four academic essays that deal with the sociopolitical meaning of utopia through its historical development, the thematization and development of utopian models in art as well as the aesthetics of the small.

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Utopie beginnt im Kleinen
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Yorgos Sapountzis
A statue has remembered me / Eine Statue hat sich an mich erinnert

Edited by Katja Schroeder and Caroline Eggel
With essays by Rosalyn Deutsche, Chris Kraus, Veit Loers, and Katja Schroeder; and an interview with the artist by Willem de Rooij

In his work, Yorgos Sapountzis appropriates public space and the statues, monuments, and memorials that inhabit it. The Athens-born artist concentrates less on their historical-political meanings and much more on their function as a medium of recollection. Sapountzis consciously tries to ignore historical information about the sculptures and instead allows them to “speak” through their gestures, poses, and ornaments.

Like an anthropologist—or parasite—Sapountzis hunts the urban, figurative myths by night or sounds them out for days on end with his camera. He then stages a confrontation, a dialogue, and a “dance,” in which the preceding expedition is consolidated to form a theatrical choreography. Sapountzis drapes scarves, makes plaster casts, and builds constructions out of aluminum rods and tape, ensnaring his stone or bronze protagonists, whom he tries to involve in his seemingly futile, exhausting activities. His video camera also records this action. The performance is therefore just as much part of the artistic strategy as the video material produced during the performance.  

A statue has remembered megives an in-depth survey of his work in ten chapters from 2000 to the present. It is published on the occasion of his two-part solo exhibition, “Videos and Picnic” at the Ursula Blickle Foundation (May 19–July 8, 2012) and “The Gadfly Festival” at Westfälischer Kunstverein Münster (June 16–September 2, 2012).

Copublished with Ursula Blickle Stiftung and Westfälischer Kunstverein Münster
Design by Katja Gretzinger

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