The Boat is Leaking. The Captain Lied. at Ca’ Corner della Regina, Fondazione Prada, May 13 – November 26, 2017

The Boat is Leaking. The Captain Lied. — a project developed by Udo Kittelmann with Thomas Demand, Alexander Kluge and Anna Viebrock — fills the spaces of Ca’ Corner della Regina, Fondazione Prada’s venue in Venice, with artworks, movies and theater sceneries whose cross-pollination and mutual inspiration attest an innovative reflection on the meaning and ways of exhibition-making.

The project investigates how the intersection of those three languages makes it possible to tell a new story. To this end, visitors are offered a continuum of visual experiences rather than a collection of works on display. A constellation of references and quotations between paintings, photographs, moving images, objects, and architectural elements renews and extends to the point of overlapping each work’s subject, as well as the exhibition’s overall themes. Individual works, although recognizable and clearly traceable to previous exhibitions, screenings or performances, thus become part of a new narrative authored by the viewers themselves.

In The Boat is Leaking. The Captain Lied. everyone can build a different story, tracing their own path through the artists’ visual imagery: questioning the traditional divide between spectators and theatrical sceneries, the forms in which cinema can be exhibited, and the visual isolation in which artworks are usually displayed.

This project is also significant because of its specific way of proceeding: built through meetings and conversations, it finds its real expression both in the exhibition space and in the relation it establishes with its public. The encounter between Fondazione Prada and the project’s protagonists — in Munich, Milan, Sils Maria, Venice, and Berlin — have staked out a shared geography and a common feeling in which information, intuitions, conjectures, and hopes have been shared over several months, starting from the project itself but expanding to encompass its cultural, political and social contexts. The whole project’s experimental character thus attests the uncertainties of an age in which improvisation as a practice is increasingly necessary.” — Introduction by Miuccia Prada and Patrizio Bertelli

Alexander Kluge, Die sanfte Schminke des Lichts (The Soft Makeup of Lighting), 2007. Anna Viebrock, Runners, 2009. Anna Viebrock, Four doors, 2017

Thomas Demand, Backyard, 2014

On the left: Angelo Morbelli, Giorni…ultimi! (Last…Days!), 1882-83

Anna Viebrock, Courtroom, 2017. Alexander Kluge, Audiopassages, 2017. Thomas Demand, Klause IV (Tavern IV), 2006

Anna Viebrock, Pio Albergo Trivulzio, 2017. Alexander Kluge, Film program on 16 tablets, 2017

Anna Viebrock, Pio Albergo Trivulzio, 2017. Alexander Kluge, Film program on 16 tablets, 2017. Thomas Demand, Attraktion (Attraction), 2013

Anna Viebrock, Stage, 2017. Alexander Kluge, Terror = Furcht und Schrecken (Terror = Fear and Horror), 2017

Anna Viebrock, Display window passage, 2017. Anna Viebrock, Circus pedestal, 2017. Alexander Kluge, Four videos broadcasted simultaneously, 2017

Anna Viebrock, Untitled, 2017. Thomas Demand, Folders, 2017

From left to right: Thomas Demand, Konstellation (Constellation), 2000. Anna Viebrock, Doors, 2017. Thomas Demand, Archiv (Archive), 1995

Anna Viebrock, Tessa Blomstedt gibt nicht auf (Tessa Blomstedt Does Not Give In), 2014. Alexander Kluge, “Die Bürde der Vernunft” (“The Burden of Reason”), 2017

From left to right: Thomas Demand, Regen (Rain), 2008. Alexander Kluge, “…Kommt ein Schiff gefahren” (“…A Ship Sails this Way”), 2017

On the right: Thomas Demand, Patio, 2014

Thomas Demand, Werkstatt (Workshop), 2017

Views of the exhibition “The boat is Leaking. The Captain Lied.” Fondazione Prada, Venice, May13,  2017 – November 26, 2017. Photos Delfino Sisto Legnani and Marco Cappelletti. Courtesy Fondazione Prada