Sleeping with a Vengeance, Dreaming of a Life, 2019

“Hosting” a Protest: Anna Dacqué’s Feminist Response to Sleep

“Sleep does not deny the possibility of revolution, but is one of its necessary conditions, forwithin itself it carries the potential for awakening, for being reborn, for starting anew.” [1]  – The Book of Sleep (2017) by Haytham el-Wardany Sleep has been politicised in the history of resistance from labour movements to political movements and gained popularity in the

Miao Ying and Chinese Contemporary Art

In the exhibition titled “SLEEPING WITH A VENGEANCE, DREAMING OF A LIFE” held at the Württembergischer Kunstverein in Stuttgart (Germany) from October 19, 2019 to January 12, 2020, visitors encounter a sketch of an artwork created by Miao Ying. It is titled “You Can’t Wake A Person Who Is Pretending To Be Asleep” (fig. 1). As one

Sleep as a Safe Haven from Capitalism: Teresa Distelberger’s “I don’t go to bed with my computer”

Technological advancement has created the opportunity to consume and produce data regardless of time and location. The societal pressure of work productivity has been amplified by the utilization of portable electronic devices, wireless connectivity and endless streams of information. Computers enable the conversion of the bed from an oasis of rest into a time-independent working

Alice Creischer. An Eye-popping Engagement with the Long-standing Biopolitics of Sleeping

The Exhibition ‘Sleeping with a Vengeance, Dreaming of a Life’ (19.10.2019-12.01.2020) opened October 19, 2019 at the Württembergischer Kunstverein in Stuttgart offers visitors a panoramic view of works related with the biopolitics of sleeping. The exhibition is organized by one of the oldest and authoritative German artists associations, the Württembergischer Kunstverein, and curated by Ruth Noack. The exhibit puts forty-nine

Sleeping and Dreaming: More than a Repose

Have you ever tried hard to stay wide-awake in a dim and quiet exhibition? How do you interpret your sleepiness? Walking in the close circuit of Sleeping with a Vengeance, Dreaming of a Life, at Stuttgart’s Württembergischer Kunstverein, the usual tiring effect of looking at a lot of works was counteracted by learning new aspects of sleeping

Sleeping as Protest?

An exploration of Dominique Hurth’s artwork on display at the Württembergischer Kunstverein in Stuttgart, 2019. The Württembergischer Kunstverein in Stuttgart, Germany, emerges, time and time again, as an ambiguous and challenging institution for exhibitions that often protrude to be more exclusive than inclusive. They frequently challenge socio-cultural perceptions, thus demanding the viewers to visually and