The fate of Irony

April 24 to July 10, 2010

Installation view The Fate of Irony, KAI 10 | Raum für Kunst, photographer: Hendrik Reinert

front: Marcel Dzama, Installation view KAI 10 | Raum für Kunst, photographer: Hendrik Reinert

Guillaume Bijl, Der Stuhl in der Kunst, Instalaltion view KAI 10 | Raum für Kunst, photographer: Hendrik Reinert

Roman Ondák, Resting Corner, Installation view KAI 10 | Raum für Kunst, photographer: Hendrik Reinert

Julia Oschatz, Fort Nox, Installation view KAI 10 | Raum für Kunst, photographer: Hendrik Reinert

Peter Jap Lim, Modell für ein Dekmal für die unbekannte Taube, Installation view KAI 10 | Raum für Kunst, photographer: Hendrik Reinert

Martin Kippenberger, front: Ohne Titel (Laterne, die durch die Wand hindurch wächst), back: Dumm geboren, nichts dazugelernt und dumm gestorben, Installation view KAI 10 | Raum für Kunst, photographer: Hendrik Reinert

Peter Jap Lim, Ironiefreie Zone, Installation view KAI 10 | Raum für Kunst, photographer: Hendrik Reinert

 
Guillaume Bijl
Luchezar Boyadjiev
Werner Büttner
Daniela Comani
Marcel Dzama
Christian Jankowski
Markus Karstieß
Martin Kippenberger
Julia Kissina
Peter Jap Lim
Roman Ondák
Julia Oschatz
Peter Piller
Ming Wong
Curators: Zdenek Felix, Ludwig Seyfarth

Until recently, irony was a preferred postmodernist mode of expression, but today, it is once again a controversial topic of discussion. Has the literally inevitable irony of fate now become the fate of irony? Has irony exhausted its reserves, or can it still be used as a meaningful cultural strategy? Hasn’t it even become a necessary element of culture, a strategy that opposes fundamentalist world views? Yet, where and how is irony understood? In the age of globalization, is it still possible to refer facetiously to a common reservoir of cultural meaning?
As a theme, irony gives rise to exemplary questions about what is required for understanding today’s art. The exhibition The Fate of Irony examines the many ways to employ ironic strategies in contemporary art. In frequently humorous ways, the artists selected demonstrate a critical attitude to social and political contexts of art, while at the same time questioning the system of art itself. Another topic of their investigations is the intercultural understanding of verbal and visual irony.

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