Julie Becker, Chan Hau Chun, Oto Gillen, Robert Glück, Danae Io: I, etcetera

Julie Becker, Chan Hau Chun, Oto Gillen, Robert Glück, Danae Io
With contributions by Alex Kitnick, Doreen Mende, Fiona Vilmer

September 19, 2026—January 17, 2027
Opening: Friday, September 18, 2026,  6–10 pm

At the center of the group exhibition I, etcetera is an engagement with artistic subjectivity as always processual and relational. From this premise, the exhibition also turns its attention to the host institution itself, considering the ways in which the Kunstverein assumes and articulates a subjectivity of its own. It asks how narrative strategies and speculative propositions, operating across artistic practices and institutional(ized) processes alike, participate in producing the relations through which the self takes form.

The group exhibition brings together works by Julie Becker, Chan Hau Chun, Oto Gillen, Robert Glück, and Danae Io that address questions of projection and perception, desire, memory, and narrative alongside the spaces and social conditions that inform how we understand ourselves and others. Moving between personal and shared experience, the works on view consider how a sense of self takes form through material and social conditions, shifting between inner states and external circumstances and through the dependencies and contradictions that bind them. As Robert Glück puts it: “The self is a collaborative hodge-podge that maintains a false sense of coherence”.  A literary essay by him is published in this brochure, while further contributions to the project come from art historian and critic Alex Kitnick, theorist and curator Doreen Mende, and curator and writer Fiona Vilmer.

This proposition of a mutable, plural subjectivity is explored through the different artistic positions in the exhibition and their negotiations of contingent selfhood. In turn, the artists’ practices offer points of reference for how an institution might understand itself. For the Kunstverein, this means looking to its building and archive, its exhibitions and public programs, its members and audiences, and the people who have worked within and around it. Its “body of experience” is thus dispersed across many actors and forms. Against this backdrop, I, etcetera asks: If there is no singular “I,” who speaks when the institution tells its own story?

Image: Julie Becker, Postersize Copy Machine (Detail), 1996. Courtesy Greene Naftali, New York.