10 years project space rosalux
10 years ago – on 15 March 2007 – rosalux showed videos of the Portuguese artist Vitor Lago Silva (1971-2013).
This was the beginning of our program as a project space, initially in a studio located in a basement, then in a beautiful venue at the corner of the Elisabethkirchstraße in Berlin-Mitte and later, from 2009, in Berlin-Wedding.
Before, rosalux had already been present as a web platform presenting original web art projects by international artists since 1999 – at a time when few still actively used the World Wide Web.
10 years project space rosalux with works by over 250 international artists, 20 of them presented their first solo exhibition in Berlin or Germany.
We are proud of our achievement and would like to thank all the artists, curators and project developers, who have expanded our horizons through their original and diverse formats, approaches and inputs and have encouraged our public and ourselves to think and debate.
We would also like to thank the loyal audience, colleagues and press representatives in Germany and abroad, who have accompanied us in all these years, as well as the many volunteer helpers, interns and consultants.
We look forward to more exciting exhibitions.
* * *
Die Zunge an den Gaumen nähen
Sewing the tongue onto the roof of the mouth
Installation / sculpture / performance
Performance: March 18, 7:30 pm
February 25 – March 25 2017
Wed – Sat, 2 – 6 pm
and by appointment
Kolonie Weekend (26-02): 2 – 6 pm
curated by Tiny Domingos
Combining everyday objects, video and sculptures in a major space intervention, Gustavo Sumpta will transform the exhibition space into an immersive installation. A new series of sculptures will be presented for the first time to the public.
The exhibition is inspired by Charles Laughton’s film ‚The Night of the Hunter‘ (1955) in which Robert Mitchum plays Harry Powel, a terrible manipulator and seducer who pretends to be a pastor to achieve his ends. His homilies parody the radio sermons and the euphoric and prosperous America of the 1950s and echoes strongly in the current Trump era. The film is also a plural portrait of generous artists rejected by the morals of their century.
Over the last 15 years, Gustavo Sumpta has affirmed himself as one of the most renowned performance artists in Portugal. His work dispenses expensive technological means and fashionable ‚ex-machina‘ effects. Its sparseness is radical and incompatible with a quick and distracted observation. His artistic practice involves the apprehension of the Genius loci, the revelation of the hidden side of the seemingly trivial elements he encounters as well as the social and psychological tensions that we strive to dissimulate.
Gustavo Sumpta was born in 1970 in Luanda (Angola), where he remained after the Portuguese moved out of Angola (especially from 1975 onwards). Post colonialism is not for him an academic approach or a curatorial perspective but a reality lived in the first person as the only white pupil of his school and his neighborhood during the ups and downs of Angola of the post-independence period. An intense experience that is reflected in the forcefulness and vitality of his artistic practice. At the age of 18, he came to Portugal where he studied History and graduated in performing arts in Oporto. He worked with renowned personalities from the most diverse artistic disciplines: with the film director Pedro Costa, with the choreographer João Fiadeiro and with the sculptor Rui Chafes. Interdisciplinary experiences that reinforce his work in which we find a dramaturgical density, a great attention to aesthetics, a very particular look and rhythm that the Portuguese arthouse cinema has been disclosing internationally and that are closely linked to the socio-cultural context, the forms of aesthetic resistance and the Lusitanian ‚modus vivendi‘. (TD)