Category Archives: works
Zwischen 2022 und 2024 fotografierte Stephanie Kiwitt in Orten und Landschaften Sachsen-Anhalts Spuren einer andauernden Transformation (Flächenland, Fortlaufend). Ende 2023 kehrte sie nach Sandersleben zurück, um die Bewohner*innen zu ihrem Ort zu befragen. Aus zahlreichen Interviews entstand ein Textstück, in dem die Menschen über die Stimmung im Ort, über früher und heute, über den demographischen Wandel, über Möglichkeiten und Schwierigkeiten der Mitgestaltung, über Initiativen und Zukunftsvisionen berichten. Das Textstück wurde nach weiteren Interviews 2024 weitergeschrieben.
Between 2022 and 2024, Stephanie Kiwitt photographed traces of ongoing transformation in places and landscapes of Saxony-Anhalt (Flächenland, Fortlaufend). In late 2023, she returned to Sandersleben to speak with residents and learn more about their town. From numerous interviews, a text piece emerged in which locals reflect on the atmosphere in the town, the past and present, demographic shifts, and the opportunities and challenges of civic engagement, local initiatives, and visions for the future. The piece was expanded in 2024 following additional conversations.
During four weeks, Stephanie Kiwitt resided in 019 in Ghent, visited the surrounding parking lots on a regular basis, stayed to observe the dynamics within a very defined and universal space. Starting, halting, moving – presence, leftovers, absence.
‘Close in open’ is the fifth instalment of P, a series of exhibitions and events on the idea, the functioning and the aesthetics of the parking lot, curated by De Cleene De Cleene. As an area where cars or other vehicles can be left temporarily, the parking lot is a site that stockpiles potential. It is an aside to the road and to the romantic idea of travel, and a necessary counterpart to the modern preoccupation with speed. It is a secondary place that often goes unnoticed, a landscape at the service of a department store, an amusement park, a factory, a journey. Once an ‘enclosed preserve for beasts of the chase’, it has become an increasingly questioned, regulated yet volatile landscape. It is a patchwork incessantly formed by aesthetic, functional, ecological, political and economic strategies. It is a place of temporary stagnation at the service of movement, a grid that gathers and structures objects, people and stories in a continuously changing puzzle.
The line that connects A to B, pauses at P.
The Aanwervingslokaal (recruitment office) is a building in the old harbour area of Antwerp. It was constructed in 1936 on the initiative of the trade unions by the Central organisation of employers in the port of Antwerp (Cepa) in order to regulate job search and recruitment. To this day, the dock workers are still day laborers.
The Aanwervingslokaal was the meeting place between dock workers, casual employees, employers and the trade unions. Workers registered there when seeking work, presented themselves in person to companies, and where selected. This recruitment took less than ten minutes. Just before, dockworkers and employers met at the hall or in nearby cafes, standing around and talking.
On the first of June 2018, the building’s function has been discontinued. In order to save costs and to be able to control job search and recruitment even better, workers have received iPads from Cepa. From now on they get hired and have to register daily via an app.
The work was photographed in the last weeks before the closure of the building. Is shows the waiting (Wachten) and hiring (Aanwerven) of the dockworkers, the party in the bar (Afscheidsparty) on the last day, the empty building (Gebouw), and the workers’s introduction to digital hiring (Digitale aanwerving).
The title ‘Máj/My’ is inspired by the name of a department store in Prague, which was called ‘Máj’ –
Czech for ‘May’ – from the 1970s until the collapse of the communist regime, and which is run under
the name ‘My’ since 2009. Both words are pronounced identically. The phonetic consonance becomes
a marketing strategy: the old name resonates inaudibly in the new one. The spring month as well as
the socialistic May both mutate into the neo-liberal use of ‘My’, the English possessive pronoun of
the first person singular.
