Diversion

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The river is a key protagonist in the planetary water cycle—channeling earth's circulation of water from mountain to brook, from ocean and to cloud. As a source of energy flows, fe rtility, and new life, the river is often understood as a powerful deity or person, holding historical, economical, socio-political, and emotional importance. In response to Portikus' unique location on Frankfurt's Main island, artist Asad Raza's new work Diversion reflects on the many facets that rivers carry. In an evocative waterscape that spans the entire exhibition space, visitors encounter a continuous stream of the Main diverted through the gallery and flowing back to the current.At the heart of Raza's practice is the creation of experiences and dialogues. In Diversion, the audience is invited to interact with, dip in, and drink purified water from the river. As in many of the artist's works, human exchange is an integral part of this piece. Custodians, who Raza cast on site, wander with the visitor, explaining scientific facts, telling stories, and carrying out daily rituals, such as monitoring the water quality, analyzing its development, filtering, and remineralizing quantities of it. By bringing together the processual and the relational, Raza emphasizes in this piece the interdependence of humans and their environment.The notion of transformation—of knowledge and substance—is highlighted by various materials used in the gallery and by actions occurring throughout the exhibition. Inspired by the image of the river delta, all elements are connected like arteries and feeding on each other. Diversion forms an ecosystem, which the artist describes as a metabolism—the synergy of human, plant, and mineral life. Using common materials, such as newspapers, picnic tables, pipes and pitchers, Raza imagines an environment of collective memory, creating a place of gathering and contemplation. In this sense, the title, Diversion, alludes both the literal detour of the Main through Portikus and to the urgency of steering away from the course. Designed by Studio Pandan and co-published by X Artists' Books and Portikus, this newspaper includes contributions by Liberty Adrien, Arhun Aksakal, Sophia Al-Maria, Shane Anderson, Carina Bukuts, Keren Cytter, Manthia Diawara, Emily Dickinson, Dan Graham, Rufus Hale, Catalina Imizcoz, Prem Krishnamurthy, Wolfram Lotz, Adéla Součková, Joe Stahlmann, Elsa Stanyer, Bones Tan Jones, and more. Asad Raza (b. 1974 in Buffalo, US) rejects disciplinary boundaries in his work, which conceives of art as a metabolic, active experience. Using actions and processes such as soil-making, tennis, and horticulture, his projects create encounters within and beyond the exhibition. His works have been realized by institutions including the Whitney Museum of American Art (2017), the Lahore Biennale (2018), Kaldor Public Art Projects (2019), Gropius Bau (2020), the Serpentine Galleries (2020), Urbane Kunst Ruhr (2021), West Den Haag (2022), Grand Union (2021–2023) and the Front Triennial (2022). Mathew Hale is an artist, writer and curator based in Los Angeles and Berlin. Over the past ten years he has presented solo exhibitions in Berlin, Los Angeles, Paris, Mexico City, New York, Kitakyushu, San Francisco and Melbourne. Hale contributed the essay, Julie Mehretu: The Origin of the Work (On Two New Paintings) to Julie Mehretu, Whitney Museum of American Art, New York, 2019. Studio Pandan is a Berlin-based design studio with a flair for detail and an imaginative outlook. Since forming in 2015, typography has been their regular tool of choice, which they wield with wit, criticality, and spark. Artists: Asad Raza, Liberty Adrien, Arhun Aksakal, Sophia Al-Maria, Shane Anderson, Carina Bukuts, Keren Cytter, Manthia Diawara, Emily Dickinson, Dan Graham, Rufus Hale, Catalina Imizcoz, Prem Krishnamurthy, Wolfram Lotz, Adéla Součková, Joe Stahlmann, Elsa Stanyer, Bones Tan JonesEditors: Asad Raza & Mathew HaleDesign: Studio Pandan (Ann Richter & Pia Christmann) 2022, 22.8 x 15.7 inches (58 x 40 cm), 6 pages, newspaper Show more