SALZBURG.- Ryan Gander’s One Hundred Things Twice unfolds as an inventory of possible realities: things that can be thought multiple times. Developed for the annual program CAPTCHA Realism at Salzburger Kunstverein, the exhibition unfolds through pairs, echoes, near-matches, and slight misalignments.

Classical logic tells us that everything must either be or not be. A body is here, or it is there. A statement is true, or it is false. Yet Gander’s practice has long been invested in precisely those situations in which such certainty begins to fail. His works often operate in the brief delay before meaning settles. They ask what happens when the thing refuses to be exhausted by one description.

The title of the show suggests enumeration, perhaps even the logic of a database: one hundred things ordered and counted. But a hundred things are never just a hundred things. Each object enters into relation with all the others; meaning does not belong to the object alone, nor to the artist, nor to the viewer. It circulates between them. A work is not merely an object placed in space. It is the time it takes to notice it, the expectation it interrupts, the behaviour it produces, the other works it calls to mind, the route one takes towards it and away from it.

Hac Vinent: [unintelligible]
July 24–September 20
Studio

The supposedly complete, autonomous, and universally capable body has always been an exclusionary fiction. It is built around a normative subject whose modes of communication are treated as self-evident. Vinent is deaf. Although the exhibition employs ambient sound, its sonic field is structured through low frequencies that Vinent can perceive with their hearing prosthesis.





The “hard” persistence of the title of the video work presented describes the continuous labour of negotiating systems that classify, measure, and reformulate the body. Persistence here is the capacity to reappear across different registers without being reducible to any one of them. The human that emerges here is therefore a contradictory and relational composite: technologically mediated, materially vulnerable, and much more complex than the systems attempting to contain it.

Both exhibitions open on July 24 at 8pm. The evening will conclude with an after-party hosted by Semaine x Salzburger Kunstverein from 9:30 pm to midnight, featuring a DJ set by Bell Towers (Public Possession).

The exhibitions are commissioned and produced by Salzburger Kunstverein and curated by Mirela Baciak.