Renaud Epstein & station urbaner kulturen
(Feben Amara, Jochen Becker, Christian Hanussek, Eva Hertzsch, Adam Page) with Oliver Pohlisch and Birgit Schlieps
One day, one ZUP, one postcard (2014-…), 2018
Wallpaper / Display cabinet
Collection station urbaner kulturen, Berlin-Hellersdorf
The sociologist Renaud Epstein’s project has first and foremost been an online format since its initiation in 2014: he posts a new postcard of large housing estates (Zones à Urbaniser par Priorité / ZUP) on his Twitter account every day. From a time when France dreamed of being modern and urban and believed in its architectural utopias, the ZUP postcards evoke at best a golden era, at worst a contemporary delusion.
The Berlin collective station urbaner kulturen, based in the last big housing estate built in the GDR, has extracted sections from Epstein’s Twitter timeline in order to materialize the interaction between internet users and images. Their project «Going out of Circles / Kreise ziehen» presents a wider series of exhibitions that aims to create connections between the housing estates on the periphery of urban and economic centers, around Berlin and beyond.
A display case with original postcards next to the Twitter wallpaper emphasises the different readings of formats of communication.
Postcards – News from a Dream World
Musée départemental Arles Antique
1 July - 25 August / 10 - 18
Exhibition curators: Magali Nachtergael and Anne Reverseau
Eric Baudart & Thu-Van Tran (1972 et 1979), Fredi Casco (1967), Moyra Davey (1958), documentation céline duval (1974), Renaud Epstein & station urbane kulturen (1971 et créé en 2014), Jean Geiser (1848-1923), Joana Hadjithomas & Khalil Joreige (1969), Roc Herms (1978), Susan Hiller (1940-2019), John Hinde (1916-1997), Katia Kameli (1973), Aglaia Konrad (1960), Valérie Mréjen (1969), Martin Parr (1952), Mathieu Pernot (1970), Brenda Lou Schaub (1993), Stephen Shore (1947), John Stezaker (1948), Oriol Vilanova (1980), William Wegman (1943)
The postcard is the ultimate circulating picture, constantly subject to a sense of déjà-vu. Throughout the twentieth century, it went hand in hand with the bottling of the visible world, the rise of image globalization and mass tourism. Collectors, hoarders, retouchers and iconographers seize existing pictures to give them a new meaning, clarify their status or context.
By comparing this artistic vision with the making of postcards, this exhibition questions what they show and tell of the world, like a visual anthropology. What did they convey throughout the twentieth century, during their hour of glory? What vision of the world did they plant in the minds of their recipients, who got them from relatives and friends?
Both a symbol of our private and collective imagination, the postcard represents an illusion, always close to hand. It shows us a dream world in which can project ourselves, as in a desirable fiction story.