Titled Divided We Stand, the 9th Busan Biennale in South Korea focused on the theme of divided territories caused by war, conflict, or colonization, and also considered individuals’ feelings of separation, anxiety, fear, or paranoia that result from such geopolitical traumas.

Departing from Marcel Odenbach’s eponymous exhibition at Kunsthalle Wien, Beweis zu nichts / Proof of Nothing examines new works by Odenbach and contextualizes them within a broader context.

Could it be that the Moscow Conceptualists were so elusive or saturated with the particularities of life in a specific economic and intellectual culture that they precluded integration into a broader art historical narrative? If so, then their simultaneously modest and radical approach to form may present a key to understanding the resilience and flexibility of a more general sphere of global conceptualisms.

Documentary practices make up one of the most significant and complex tendencies within art during the last two decades. This anthology seeks to overcome the existing dispersion of texts on these practices and offer new perspectives on this crucial theme.

“Odenbach’s art … criss-crosses the structural hybridization of video-based conceptualism with reflection on the lived experience of globalization.”

—Kobena Mercer