Taking place in the one-story outbuilding that was formerly used as stables and to house the staff, the presentation at Kunstverein Braunschweig comprises K.r.m. Mooney’s first institutional solo exhibition in Europe. Mooney revisions the Remise as a former economic space by addressing its architecture, lighting and the limits of the exhibitions surrounding conditions. Mooney considers the details of the Remise and the dynamics that emerge between sculptural object and the material structures that produce Kunstverein Braunschweig alongside its affective, spatial and temporal concessions as one encounters its varied architectural expression. Corresponding to the specific physical arrangements of the Remise as a site that inherits a history of intensified involvement, the exhibition consists of works that look at transitory modalities and speculates how these might be intensified, expressed and linked. Operating as a response signal or installed within a throughway, the works in the exhibition incorporate generative qualities that hold the capacity to emit or shift with environmental conditions.

K.r.m. Mooney (b. 1990 in Seattle, USA) lives and works in Oakland, USA. After studying at Central Saint Martins in London and the California College of the Arts in San Francisco, Mooney’s works were displayed in solo exhibitions as part of the SECA Art Awards at the San Francisco Museum of Modern Art (2017), at Pied-à-terre, Ottsville, and also at the Wattis Institute for Contemporary Art, San Francisco (both 2015). Mooney’s works were also shown in group shows including at KW Institute for Contemporary Art, Berlin (2017); at the White Flag Project Library, St. Louis; at the Futura Centre for Contemporary Art, Prague; at Altman Siegel, San Francisco (all 2016); and at Hester, New York (2015).

Curator: Nele Kaczmarek

The exhibition and the catalogue of K.R.M. MOONEY has been made possible by:
Niedersächsisches Ministerium für Wissenschaft und Kultur

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https://artviewer.org/k-r-m-mooney-at-kunstverein-braunschweig/

https://taz.de/!5469675/