2022-09-11 – 2022-10-23 sven piayda | 'needle in the multiverse'
at kunstwerden, essen


sven piayda

kunstwerden e.v., essen
2022-09-11 – 2022-10-23
opening 2022-09-11, 4 pm
kunstspur meet & greet 2022-09-17, 4 pm


in his solo exhibition for kunstwerden sven piayda combines photography, video, cgi, found footage, multiples, sound and music to create a multi-aesthetic experience. an almost half-hour animated film and the one-hour soundtrack enable immersive immersion - as well as a memory game on display, which makes it possible to experience the crux of fixed rules when viewing things. full of cross-references to science, art history, and pop culture, the works from the last nine years quote nasa's probe missions, de saussure's linguistic models, leonardo da vinci's landscapes, beethoven’s unfinished 10th symphony and hugh everett's multiverse theory. the exhibition reflects the observation of things with limited means between infinite zooming out and authentic self-reflection: is the answer to the question of divine genius to be found in the interuniversal, in the transcendent or in ourselves?


2022-06-10 – 2022-07-10 sven piayda | 'slinky springs dune' at 'HOME! (CALL THE CURATOR)' at kunsthaus essen, essen

sven piayda | slinky springs dune

kunsthaus essen, essen
2022-06-10 – 2022-07-10


we are surprised to announce sven piayda´s participation in the current group show at kunsthaus essen entitled HOME! (call the curator) as curated by denis bury. the studio contributed the previously not exhibited 2019 tableau ‘slinky springs dune’ which was already produced for the 2021 group show ‘wow! - made in ob’ at ludwiggalerie schloss oberhausen which presented ‘twisted ring’ (2019) instead. HOME! (call the curator) is a growing exhibition running until july 10, 2022. a date for an upcoming finissage is supposed to be announced.

you may like to check the exhibitions section for more installation views documenting the works available last weekend.

sven piayda and the studio would like to thank havva ayvalik, christoph hildebrand and denis bury. find out about the exhibition concept as released by kunsthaus essen:

with the five-part exhibition and project series HOME! at kunsthaus essen, the ‘metropole ruhr’ is discussed as a storehouse of knowledge and production site for artistic work. in each chapter, various coordinates and references are called up, taking into account certain focal points. the kunsthaus essen functions as a connecting basis in its capacity as exhibition venue, research module and signpost for possible axes of vision that allow a new perception of regionally located art production.parallel to the exhibitions in the kunsthaus, imaginary paths through the ruhr region are marked out for the visitor's own exploration, leading, among other things, to art in public spaces, historical cultural assets and selected collections of the region.

with the project ‘call the curator’, the exhibition series HOME! is given an experimental format, which in its basic orientation deals with aesthetic criteria, curatorial models and communication channels of exhibition projects. the initiator of the project, denis bury, is interested in a theoretical examination of questions that determine the activity of a curator, for example in the selection of artistic positions, exhibition exhibits and the staging of spaces. furthermore, themes are to be negotiated practically within the framework of the project, i.e. communicated and discussed between the artists and the responsible curator and tested together through practical implementation.

the realisation of this experimental process is initiated by a public call for entries, which invites artists with a connection to the metropole ruhr to contribute their own work to the exhibition. the kunsthaus essen has made one of its exhibition rooms in the gallery area available as the exhibition venue for this project.

the imperative character of the exhibition title - call the curator - signals to the artists participating in the project that a curator can be contacted and consulted for questions about the choice of work, the placement of the artistic work in the space or the correspondence or proximity with other works. it is this impulse for interaction that gives the project its experimental status. artists and curator decide in a collective exchange process on the possible whereabouts of the works within the exhibition.

this interactive and communicative process will be documented - as far as possible - by acoustic recordings of conversations. in addition, photographs taken by the artists showing the exhibition space or the wall before and after the installation of their work will visually record which spatial placement options come into question for their works.

accordingly, the aim of the experimental exhibition format is not merely to set up a coherent exhibition space, but to discuss basic curatorial questions and principles together and thus also to creatively question curatorial fields of action and limit them to individual decision-making competences. unlike in a ‘classically’ curated exhibition, in "call the curator" the decision on the realisation of fundamental exhibition principles is not in the hands of a single curatorially legitimised personality, but it is in concrete, binding relation to group-dynamic decision-making processes, which are determined by the art producers involved in the exhibition project in interaction with the curator.

curator denis bury states on ‘slinky springs dune’: it pulls you in, but pretends to be unremarkable. and then you can't get out.


2022-02-27 – 2022-04-03 sven piayda | 'model: 1989 ford probe (car#1) after c. williams' at '(ES LEBE DIE) FREIHEIT' at ruhr gallery, mülheim an der ruhr

sven piayda | model: 1989 ford probe (car#1) after c. williams

ruhr gallery, mülheim an der ruhr
2022-02-27 – 2022-04-03


in recent days and especially within the pandemic and its restrictions the term ‘freedom’ has been used by different groups using different definitions and intentions. even if the tableau has been created within the context of adaptation, the show offers a new context and possibilities for interpretation: a picture of a car turned over may remind of street riots while the protest hits the uninvolved. the original context of adaptation refers to intellectual freedom: the opportunity to use the work, result and finding of experts to hand on to tradition and culture for a growing society. apart from your preferred direction in interpretation you may get aware that the term ‘freedom’ is used by different parties believing to know its meaning and to do the right thing in the same way as contrastive interpretations can be right.

the original catalogue text states: 'model: 1989 ford probe (car#1) after christopher williams' refers to 'model: 1964 renault dauphine-four (car#1 )' by christopher williams. his renault was replaced by a ford probe, which is an autobiographical reference. since williams himself likes to use stock footage, the principle of appropriating image motifs is exaggerated here.

the current exhibition ‘(es lebe die) freiheit’ at ruhr gallery was originally curated without context or in an assumed context of a society discussing pandemic-based restrictions. as the war on ukraine has surprised all of us the gallery is now also expressing solidarity and the show can and must be seen with this new political context. the studio supports the show and solidarity but announced to had offered a different work within this new war context. please consider this fact while attending the show.