Kanban – Ilan Bachl, Philipp Benkert, Max Fesl und Anna Pascó Boltà

Kunstarkaden

  • 23.01.2018. - 17.02.2018

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Eingetaucht in verschiedenfarbiges künstliches Sonnenlicht werden die mit echtem Rasen ausgelegten Raumnischen mit Installationen, Fotografien und Videoarbeiten bespielt. Die gezeigten Arbeiten beziehen sich auf die ehemalige industrielle Nutzung des heutigen Kunstraums.

'Kanban' bezeichnet die Steuerung und Regulierung von Produktionsprozessen, durch die eine Optimierung von Herstellungsverfahren und Kapitalgewinnung erreicht wird. Anhand diesen Verfahrens haben die Künstlerinnen und Künstler die Lagerbestände der Kunstarkaden durchforstet und in die Ausstellung eingebracht.

(Pressetext)

Kommentar
Von Laura Sanchez Serrano 05. Feb 2018

I have always liked intriguing exhibition titles. What is the meaning behind the title of an exhibition? Can a word (or a statement) encompass a series of complex visual and conceptual constructions? Is it possible to put an aesthetic experience into words? Titles guide us through abstraction, act as a metaphor of something we see and cannot easily describe. That is the case in Kanban, the current group exhibition at the Kunstarkaden, featuring works by Ilan Bachl, Philipp Benkert, Max Fesl and Anna Pascó Boltà.

Kanban is a Japanese word that means „signboard“. It refers to a globally extended inventory control system for supply chains, that was first developed in 1953 by Taiichi Ohno, an industrial engineer at Toyota. One of the main benefits of the Kanban system is to avoid overcapacity and improve manufacturing efficiency. Although the Kanban method was originated in manufacturing it is used mainly to manage and improve work across human systems, especially for software development. Productivity, optimization, efficiency... what does that have to do with an art exhibition?

Kanban is the result of a collaboration among four young artists based in Munich. They take the industrial past of the Kunstarkaden as a starting point for the exhibition (it used to be a stockroom) and show site-specific installations, objects, videos and photography in dialogue with the architecture of the space. Their works analyse the intersections, analogies and contradictions between industry and art, nature and human intervention, science and creativity, ideas and matter... and they do it in a minimalist way, simple but filled with meaning. Can capitalist concepts like process control improvement, time optimization or increasing benefits be applied to art? How can you grow a garden in an industrial space? What is the distance between an idea and its representation? Can we reduce knowledge to an aesthetic experience?