Combinations of white enameled metal elements illuminated by fluorescent or neon lights in dialogue with found objects, studio equipment and supplies are the central matrials in Laura Lamiel’s work. Within the contemplative spaces of her own works Lamiel seeks what she calls ‘a formal shock’ – for example when pure rational forms meet ephemera or intuitively-driven elements. For the artist the studio also has the same degree of artificiality and possibility of the white cube exhibition space.

Kunstverein Langenhagen is proud to present Cally Spooner’s first Soloshow in Germany. Cally Spooner (b. 1983 lives and works in London) produces plotless novellas, disjunctive scripts, looping monologues and musical arrangements to stage the automation of speech, outsourced subjectivity, mutated human resources and the short-circuiting of language as it transforms into labour. Appropriating different performance genres such as the Broadway musical Spooner considers how dematerialized, indeterminate, unmediated performance, can sit within the extreme visibility of entertainment and today's attention economies.

For Cally Spooner's solo show at Kunstverein Langenhagen - The Overall OOOH - the artist presents a film prop and an off-camera dialogue, both new components for her pending feature film (*) about states of technical dependency; the hired virtuosic body as a technology, a person becoming a corporation and a corporation becoming a person. For the The Overall OOOH Spooner stages the intersections between semiotic engineering, logistical subjugation, oversized objects and outsourced subjectivity. With very special thanks to Giles Round.

Cally Spooner has had recent solo presentations at gb Agency Paris, Tate Modern, London; Performa 13, New York and Kunsthal Charlottenburg, Copenhagen, Stedelijk Museum, Amsterdam; with recent group group exhibitions at Kunstverein Munchen, Munich, Zero Gallery, Milan, KW Institute, Berlin; Serpentine Gallery, London; Kestnergesellschaft, Hanover; Cally Spooner is a recipient of the Paul Hamlyn Foundation Awards for Artists 2013 and is nominated for The Future Generations Art Prize, 2014.

• Spooner's film is the indirect and abstracted documentation of And You Were Wonderful, On Stage; a peripatetic live musical commissioned and produced by the Stedelijk Museum in April 2013, co-produced by Performa 13, New York, and Tate Modern, London. Delivered by a chorus line of 26 women, and based on the artists time working at an advertising agency as a copywriter.on a client campaign where an employee’s personally disclosed stories and aspirations were extracted, repackaged to better reflect the voice of their corporation, then returned to the employee to be redelivered to camera, as TV commercials. The musical will be adapted into a HD multichannel film by April 2015, co-produced by Experimental Media and Performing Arts Center (EMPAC), USA and the Stedelijk Museum, NL.

Kunstverein Langenhagen is proud to present Tobias Dostal's soloshow as part of the New York Stipent 2013 of the Niedersächsische Sparkassenstiftung and the state of Lower Saxony. For aperiod of one year, the stipendiaries receive a monthly grant and an apartment in New York. In addition, the stipend includes the provision of a studio at the famous International Studio & Curatorial Program (ISCP) in Brooklyn. After returning from New York, the artists have since 2005 been offered the opportunity of displaying their works at two art associations in Lower Saxony.

At the second stop of the exhibition at the Kunstverein Langenhagen the enclosed exhibition space presents other perspectives onto the oeuvre of Tobias Dostal than the first stop at lightfilld mission of the state of Lower Saxony to the federal government in Berlin could do. In Langenhagen Dostal's striking film installations can radiate all of their magic without having to assert themselves in competition with additional stimuli from an external space. Instead, the exhibition LED The Sunshine offers the possibility of transforming the space into zones of various “filmic” attractions. Tobias Dostal‘s fascination with the “Cinema of Attraction” is already evident in his early works.

“Cinema of Attraction” refers to the early cinema at the threshold between the nineteenth and twentieth century. As carnival attractions for a wide audience, film presentations were oriented primarily toward direct visual effects. These early cinematic experiments are marked by a sensual pleasure in the images, visual tricks, and what are for the most part brief plot elements. The “Expanded Cinema” of the nineteensixties and -seventies constitutes a further important referential framework. The artists considered to be part of this “Expanded Cinema” revolted, among other things, against the “orientation” of the audience toward a central screen and projection from outside the room. They experimented with multipleprojections, changing projection surfaces, and the newly decreed status of the projector as one of the components of an expanded filmic space. Today with reference to this tradition, artists such as Rosa Barba and Wolfgang Plöger make filmic apparatuses or film strips the subject of their works and bear witness to the unbroken timeliness that characterizes the “performance practice” of the medium of film in current artistic production.

With LED The Sunshine, Tobias Dostal creates an integrated filmic space and literally involves the visitors in the light display. In Shadow , (2012), the images become visible as soon as bodies become available as projection surfaces. Blockbuster , (2014) must likewise be walked through in order to see the filmstrips illuminated by LEDs. Voyage avec néné , (2014), a tribute to the film pioneer Georges Méliès (1861–1938) and his film Le voyage dans la Lune, (1902), consists of eighteen tripods, each with three projectors of individual images whichproject the images from various directions in different rhythms. Satellit , (2014) on the other hand, hovers as an apparatus hung from the ceiling but has brought along its own projection screen. Appearing on the screen are sketched puzzle-pictures which present poetical narratives of the human condition and, with a wink of the eye, reflect the abstract messages circulating through outer space and addressed to extraterrestrial life-forms. This visual cosmos arises out of Tobias Dostal‘s love for virtuosic play with the illusion-creating machinery of film images. With a poetical and humorous mixture of low- and high-tech, the adroit illusionist Tobias Dostal cultivates a deliberate flirting with nostalgia as Kunstverein Langenhagen is proud to present Tobias Dostal's soloshow as part of the New York Stipent 2013 of the Niedersächsische Sparkassenstiftung and the state of Lower Saxony. For aperiod of one year, the stipendiaries receive a monthly grant and an apartment in New York. In addition, the stipend includes the provision of a studio at the famous International Studio & Curatorial Program (ISCP) in Brooklyn. After returning from New York, the artists have since 2005 been offered the opportunity of displaying their works at two art associations in Lower Saxony.

At the second stop of the exhibition at the Kunstverein Langenhagen the enclosed exhibition space presents other perspectives onto the oeuvre of Tobias Dostal than the first stop at lightfilld mission of the state of Lower Saxony to the federal government in Berlin could do. In Langenhagen Dostal's striking film installations can radiate all of their magic without having to assert themselves in competition with additional stimuli from an external space. Instead, the exhibition LED The Sunshine offers the possibility of transforming the space into zones of various “filmic” attractions. Tobias Dostal‘s fascination with the “Cinema of Attraction” is already evident in his early works.

“Cinema of Attraction” refers to the early cinema at the threshold between the nineteenth and twentieth century. As carnival attractions for a wide audience, film presentations were oriented primarily toward direct visual effects. These early cinematic experiments are marked by a sensual pleasure in the images, visual tricks, and what are for the most part brief plot elements. The “Expanded Cinema” of the nineteensixties and -seventies constitutes a further important referential framework. The artists considered to be part of this “Expanded Cinema” revolted, among other things, against the “orientation” of the audience toward a central screen and projection from outside the room. They experimented with multipleprojections, changing projection surfaces, and the newly decreed status of the projector as one of the components of an expanded filmic space. Today with reference to this tradition, artists such as Rosa Barba and Wolfgang Plöger make filmic apparatuses or film strips the subject of their works and bear witness to the unbroken timeliness that characterizes the “performance practice” of the medium of film in current artistic production.

With LED The Sunshine, Tobias Dostal creates an integrated filmic space and literally involves the visitors in the light display. In Shadow , (2012), the images become visible as soon as bodies become available as projection surfaces. Blockbuster , (2014) must likewise be walked through in order to see the filmstrips illuminated by LEDs. Voyage avec néné , (2014), a tribute to the film pioneer Georges Méliès (1861–1938) and his film Le voyage dans la Lune, (1902), consists of eighteen tripods, each with three projectors of individual images whichproject the images from various directions in different rhythms. Satellit , (2014) on the other hand, hovers as an apparatus hung from the ceiling but has brought along its own projection screen. Appearing on the screen are sketched puzzle-pictures which present poetical narratives of the human condition and, with a wink of the eye, reflect the abstract messages circulating through outer space and addressed to extraterrestrial life-forms. This visual cosmos arises out of Tobias Dostal‘s love for virtuosic play with the illusion-creating machinery of film images. With a poetical and humorous mixture of low- and high-tech, the adroit illusionist Tobias Dostal cultivates a deliberate flirting with nostalgia as the catalogue Three Dollars plus five Euros is will be presented at the opening.

Matthew Cowan is a New Zealand artist, working in the realm of traditional European customs. His works are photographs, videos, installations and performances, which play with the inherent strangeness of the continued popularity of long established folk customs in a modern world. These works can be viewed as mock folk performances in themselves, playing with the elements of folk rituals that give people a link to the past. In contemporary European societies, people have a peculiar relationship with folk traditions that is part uneasiness about the past and part fascination with spectacle and long established ritual. In investigating the celebration and performance of folk traditions, a primary theme is the presence of humour and subversion of the usual social order.

Recent exhibitions have been in London, Sapporo, New York and Auckland (solo), and Braunschweig (group). For 2014/25, Matthew Cowan held a residency at the Hochschule für bildende Kunst, Braunschweig Germany being part of the international program Braunschweig Projects.