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Bankleer

Political Agency

Website / Social Media: www.bankleer.org/de/

“HOW IS YOUR COSTUME AGENTIVE?” 

The presence of the body in the public space has emancipating potential. Through grotesque reversal, distortion, deformation and infiltration, the eccentric inner realms emerge and undermine the dominant world view.

BIOGRAPHY

BANKLEER (Kasböck & Leitner) have been working in Berlin since 2000. For them, art is a practice for responding to social, political and historical events. They act on the borders between sculpture, performance, text and video. Their art is created in exchange or through exciting encounters with the audience. It is currently a series of sculptural performances that they develop for different contexts – for public space, for art spaces, biennials and demonstrations.

Exhibitions (selections): Collection of the Hamburger Kunsthalle (2019, 2018), Steierischer Herbst Graz (2019, 2015, 2006), I. Karachi Biennale (2017), I., II. and III. Herbst Salon Biennale of the Gorki Theater Berlin (2017, 2015, 2013) Wiener Festwochen (2014), Kunstraum München (2011), Frankfurter Kunstverein (2011), Kunsthal Charlottenborg (2009), Vertrautes Terrain. Aktuelle Kunst in & über Deutschland at ZKM Karlsruhe (2008), Deutscher Künstlerbund Berlin (2007), euroPART. Aktuelle Kunst aus Europa, Wien (2006), Shedhalle Zürich (2005), plattform Berlin, les complices, Zürich and oda projesi, Istanbul (2005), WSF Bombay (2003), tent Rotterdam (2000).

Scholarships: Deutsche Akademie Villa Massimo (2020), Goethe-Institut Karachi (2017), ComPeung Chiang Mai (2014), Akademie Schloss Solitude Stuttgart (2004).

Teaching: UdK Berlin (2019), Kooperations with Natural Building Lab/Habitat Unit der TU Berlin, FH Potsdam and HNE Eberswalde (2017-19), Visiting professorship, Kunsthochschule für Medien Köln (2013-15), Substitute professorship, Hochschule Anhalt/Dessau (2012).

TITLE: Die Irrenden (The Erring)

A converted container transforms into the insides of a body, in which a speaking Something acts; over dimensional heads of politician separated from their bodies commence a dispute concerning the fragmentation and alienation of the human body and mind; statues and monuments in the surrounding area start speaking with the help of the tohubassbuuh, a mobile sound unit. Several sound collages and text passages performed live by actors at certain times mix pumping beats with historical and philosophical fragments to give acoustic and visual form to the distortions and the (lack of) political-economic order, that drones on, repeats itself meanderingly and emphasizes the formless, the “heap” and the severed body member.

BANKLEER counter the feeling of powerlessness and despair in the face of global financial crises and the increasing virtualization of the economy and society with deeds and action which transform our often only abstractly felt impotence and deformation into physically tangible experiences that can be quite disturbing. This metamorphosis of invisible interplays into a direct sensory experience not only depicts what really cannot be understood, but also releases potential for deeds and symbolically turns energies forced inwards towards the outside. Contradictions are not resolved, boundaries are not removed, fears are not allayed and injuries are not healed.

IMAGE CAPTIONS & CREDITS

01
BANKLEER, Die Irrenden (The Erring), a sculptural performance, Max Joseph-Platz, Munich, Juni 2016
Foto: BANKLEER

02
BANKLEER, Die Irrenden (The Erring), a sculptural performance, Max Joseph-Platz, Munich, June 2016
Foto: BANKLEER

03
BANKLEER, Die Irrenden (The Erring), a sculptural performance, Max Joseph-Platz, Munich, June 2016
Foto: BANKLEER

04
BANKLEER, Die Irrenden (The Erring), a sculptural performance, Max Joseph-Platz, Munich, June 2016
Foto: BANKLEER

05
BANKLEER, Die Irrenden (The Erring), a sculptural performance, Max Joseph-Platz, Munich, June 2016
Foto: BANKLEER

06
BANKLEER, Die Irrenden (The Erring), a sculptural performance, Max Joseph-Platz, Munich, June 2016
Foto: BANKLEER

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