daily recommended exhibitions

posted 18. Jun 2018

Paloma Varga Weisz. Wild Bunch

09. Jun 201818. Aug 2018
opening: 08. Jun 2018 18:00
Sadie Coles HQ 1 Davies Street London W1 Paloma Varga Weisz. Wild Bunch 09.06.2018 - 18.08.2018 Private View: Friday 08.06.2018 18:00 - 20:00 For her 2018 exhibition at Sadie Coles HQ, Paloma Varga Weisz presents a new series of sculptures in carved limewood. These works glance back to her origins as a woodcarver in Bavaria in the late 1980s, while also reflecting the layered personal iconography – surreal, mythological and Modernist – that she has developed over her thirty-year career. At the centre of the exhibition is an articulated wooden figure – a life-size version of an artist’s mannequin – suspended acrobatically from ropes. This alludes to the long tradition of drawing from wooden stand-ins or ‘lay figures’, and equally to the surrealist fascination with the doll or shop mannequin as a proxy body. Suspended above the gallery, Varga Weisz’s sculpture appears poised to perform multiple roles – its ball-jointed limbs implying the possibility of altered poses and shifting meanings. In contrast to a traditional artist’s model, featureless and neutered, Varga Weisz’s figure bears the impressions of a ‘real’ identity – it is endowed with male genitals and the rough, vestigial markings of a face. It wavers between the status of an artistic paradigm and a human subject, implying both an awkward prop and an animate body – ensouled and erotic. Around the gallery, Varga Weisz has positioned a group of carved characters who oscillate, in similar fashion, between generic and individual resonances. One of these is a hybrid form: part man, part dog. The strange creature evokes a figment of myth or folklore, but is also – in its introspective expression and faltering pose – imbued with psychological realism and specificity. Standing forlornly on two legs, with its large flaccid ears and six ample breasts, it is at once plaintive and comical, encapsulating a double-edged mood that recurs throughout Varga Weisz’s work. Another character, a man clothed in bumps, has been finished in mottled gesso, recalling the medieval technique of plastering and painting wooden statues to endow them with verisimilitude. In a sequence of sculptures, the artist presents elongated female nudes with simplified features, reminiscent of the rough-hewn ‘primitivist’ carvings of Modernist sculpture, on whose heads rest small circular vessels. Their simplicity is offset by a sense of the ceremonial or quixotic: each woman rests one hand tenderly on her stomach, creating a rhythmic repetition of poses, while the vessel implies a cup, hat, or architectural object – either a chimney or pedestal. Each body is a kind of plinth, akin to Auguste Rodin’s carved marble statue of Pallas with a temple growing on her head, or to sculpted caryatids designed to hold up temple roofs. The idea of the sculpture as a support, which carries echoes of decorative artistic traditions, is extended in a work that depicts a doleful monkey holding a goose egg. Elsewhere, Varga Weisz employs the conceit of a sculpture atop a sculpture to juxtapose two distinct styles – smooth-planed serenity is superseded by an expressive realism recalling the grimacing countenances of Franz Xaver Messerschmidt. Throughout her latest works, Varga Weisz continues to examine and rethink the ways in which sculpture has been presented and viewed. In various instances, the plinth is integral to the sculpture – hewn from the same block of wood, in the style of a herm. Elsewhere, the use of the plinth carries echoes of both modern museum displays and historical systems of presentation. At other moments, as in the central hanging figure, sculpture has broken free of its traditional moorings. Paloma Varga Weisz (b. 1966, Mannheim) lives and works in Düsseldorf, Germany. She trained at Staatliche Kunstakademie, Düsseldorf. Major solo exhibitions include Skulpturenhalle, Thomas Schütte Foundation, Holzheim, Germany (2017); Kabinettstück, Fürstenberg Zeitgenössisch, Donaueschingen, Germany (2016; curated by Moritz Wesseler); Glory Hole, Salzburger Kunstverein, Salzburg, Austria (2015); Root of a Dream, Castello di Rivoli, Turin, Italy (2015); Krummer Hund, Kabinett für aktuelle Kunst, Bremerhaven, Germany, and the Douglas Hyde Gallery, Dublin (2013); that at Museum Morsbroich, Leverkusen, Germany (with Rosemarie Trockel); Spirits of My Flesh, Chapter, Cardiff (2011), and that at the Douglas Hyde Gallery, Dublin (2006). In 2017, a new book documenting Varga Weisz’s exhibition Root of a Dream was published by Castello di Rivoli, Turin.
Sadie Coles HQ, London

1 Davies Street
W1K 3DB London

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posted 17. Jun 2018

Tacita Dean - Woman with a Red Hat

07. Jul 201830. Sep 2018
Tacita Dean is one of Britain’s most respected and successful international artists. This year is a phenomenal one for her, with solo exhibitions LANDSCAPE, PORTRAIT and STILL LIFE at London’s Royal Academy of Arts, National Portrait Gallery and National Gallery. The Fruitmarket Gallery is proud to present our own exhibition of the work of Tacita Dean to complement these showings. Taking performance as its theme, our exhibition will be presented in the context of the Edinburgh International Festival, the world’s pre-eminent celebration of the performing arts. The exhibition is built around hourly screenings of Dean’s ‘bewilderingly intricate’ Event for Stage (2015), in which actor Stephen Dillane delivers a virtuoso solo performance, variously acting from a script given to him, page by page, by Dean, seated in the front row of the audience; declaiming lines from Shakespeare’s The Tempest; reminiscing about his family; reading a story; and announcing the changing of reels for the two cameras that are filming him. It’s a performance about performance, given by an actor playing the part of an actor. Commissioned for the Sydney Biennale in 2014, the work was filmed over four nights, then edited into a single film, Dillane’s changing hairstyles marking the cuts from one performance to another. As the piece moves swiftly backwards and forwards between ‘reality’ and ‘illusion’, the audience never quite knows how much of what we are seeing to believe (much of the script concerns the role of both text and actor in creating and preserving the ‘magic of suspended disbelief that is the theatre’). Event for a Stage is joined in the exhibition by a number of works that together examine performance and its relationship to fiction, the imagination and the collective effort of artist and audience. We are delighted to be able to show, for the first time in the UK, When first I raised the Tempest (2016), the longest so far of Dean’s signature blackboard drawings. A storyboard for a film or play that has never been made, it connects to The Russian Ending (2001), a suite of photogravures in which Dean reimagines a selection of found postcards as stills from fictitious disaster movies. The earliest work in the exhibition, Foley Artist (1996), celebrates the unseen sound artists of the screen, scripting an imaginary film entirely through the efforts of two foley artists. The person and personage of the actor re-emerges in the three small films, all filmed in 2017, and all using Dean’s pioneering technique of masking film so that it may be run several times through the camera, collaging together scenes shot completely separately to appear as one unified film. A Muse, shown here for the first time, shows actor Ben Whishaw calling over space and time to the poet, essayist and professor of Classics, Anne Carson. Providence magically transports actor David Warner to a field of hummingbirds; and the miniature His Picture in Little brings together David Warner, Ben Whishaw and Stephen Dillane. The films, installations, drawing and photogravures in this exhibition bring into focus Dean’s understanding of the possibilities and complications of performance. Turning truth into fiction and unspooling the threads of narrative even as they seem to be weaving them into a convincing tale, these beguiling, entrancing works offer another window into the imagination of this most complex of artists.

artist

Tacita Dean 
Fruitmarket Gallery, Edinburgh °

FRUITMARKET GALLERY | 45 Market Street
EH1 1DF Edinburgh

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posted 16. Jun 2018

Taiyo Onorato & Nico Krebs. Defying Gravity

25. Mar 201815. Jul 2018
Taiyo Onorato & Nico Krebs. Defying Gravity 25.03.2018 - 15.07.2018 KINDL - Zentrum für zeitgenössische Kunst, Berlin On 24 March, the KINDL – Centre for Contemporary Art will open a major survey exhibition of the work of Taiyo Onorato & Nico Krebs under the title Defying Gravity. The full range of the artists’ work will be presented on two floors, including film, photography, sculpture, and installations. The exhibition offers an impressive demonstration of how Onorato & Krebs in particular examine and expand common notions of the documentary. The focus of the first floor (M1) will be on their 16mm films. This area will reveal references that are taken up on the second floor (M2) with works of photography and a group of entirely new sculptures. Two central groups of works will be highlighted: The Great Unreal (2005–2009) and Continental Drift (2013–2016). The extensive series of photographs The Great Unreal was created during a road trip through the United States—and thus in a context that is strongly defined by Hollywood and ubiquitous images of the American dream. Onorato & Krebs continually countered clichéd ideas of mystical American landscapes with surprising and surreal alterations. For Continental Drift (2013–2016) the duo embarked on another journey. The two artists drove from Zurich to Mongolia, passing through areas for which barely any clichés exist. The juxtaposition of chance sights and deliberate constructions demonstrates that to Onorato & Krebs the idea of a thing is just as important as its reality. The artists realised another series of photographs in Berlin, where the two have maintained a studio for many years. In the series Building Berlin/Constructions (2009–2012), wooden scaffoldings built on empty plots of land echo the silhouettes of the buildings behind them and create an illusionistic connection in the medium of photography. Since very few such areas exist in this form today in Berlin, the pictures themselves have now become documents of contemporary history.
KINDL – Zentrum für zeitgenössische Kunst, Berlin .

KINDL – ZENTRUM FÜR ZEITGENÖSSISCHE KUNST | Am Sudhaus 2
12053 Berlin

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posted 15. Jun 2018

Hiwa K. Moon Calendar

26. May 201829. Jul 2018
Hiwa K. Moon Calendar 26.05.2018 – 29.07.2018 Der 1975 im nordirakischen Kurdistan geborene Künstler Hiwa K reflektiert in seinen Videoarbeiten und Installationen die eigene Migrationsgeschichte und überführt diese in poetisch und narrativ vielschichtige Arbeiten. Die Frage nach geografischer Verortung, die Suche nach Orientierung oder das Sich-Gewahrwerden spielt in vielen Werken des Künstlers eine tragende Rolle, der einmal berichtete, seine »Heimat« sei in seinen Füßen verortet. In der titelgebenden Arbeit dieser Ausstellung »Moon Calendar« (2007) ist Hiwa K tanzend in einer Halle des irakischen Gefängniskomplexes Amna Souraka zu sehen, während er mittels eines Stethoskops den Takt seines Herzschlags verfolgt und wie eine Transkription in Flamenco-Schritte an den Boden weiterleitet. So entsteht ein Prozess, der den Künstler bei jedem Schlag und Gegenschlag an seine Positionierung sowie Taktung innerhalb des kontextbeladenen Umraums erinnert. Zusätzlich zu existierenden Arbeiten werden zwei raumgreifende Installationen realisiert: inspiriert von dem Werk »My Father’s Colour Period« (2013) nutzt Hiwa K die markanten Fenster des Künstlerhauses als Screens, um das Sonnenlicht farbig in den Raum zu leiten. Monumental erstreckt sich schließlich die Sandarbeit »What the Barbarians Did Not Do, Did the Barberini« (2012), die formal Bezug auf das Pantheon nimmt und inhaltlich hieraus dessen Diskurs zum zwiespältigen Charakter des Materials Bronze – zum Zwecke von Kunstschaffung und Waffenherstellung – aufgreift und geografisch ausweitet. Beobachtungen sind wesentliches Ausgangsmaterial von Hiwa K. Er nutzt sich selbst als Material, um stellvertretend als metaphorischer Protagonist zu fungieren, der sowohl physisch-performativ als auch philosophisch die Gegenwart und hierin vorhandene Verweise auf historische Kontexte auf beeindruckende Weise offenbart. Die Ausstellung »Moon Calendar« entstand in Kooperation mit dem S.M.A.K. (Stedelijk Museum voor Actuele Kunst) in Gent. Hiwa K nahm an zahlreichen internationalen Ausstellungen teil, u. a. der documenta 14 und der 56. Venedig Biennale.

artist

Hiwa K 
Kunstverein Hannover

KÜNSTLERHAUS HANNOVER | Sophienstraße 2
30159 Hanover

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posted 14. Jun 2018

MARIAN BOGUSZ: THE JOY OF NEW CONSTRUCTIONS

14. Jun 201822. Jul 2018
opening: 14. Jun 2018 19:00
Ausstellung **"Freiheit zur Freiheit/ Freedom to be Free"**, in Zusammenarbeit mit Kanuti Gildi SAAL, Tallinn, mit drei Werkschauen von Jaan Toomik, Christa Jeitner, und Marian Bogusz im Rahmen von ›Freiraum‹, einem Projekt der Goethe-Institute in Europa MARIAN BOGUSZ: THE JOY OF NEW CONSTRUCTIONS 14.06.2018 - 22.07.2018 Ort: Kunsthaus Mit Arbeiten von: Zbigniew Dłubak, Zbynek Sekal Kuratiert von Joanna Kordjak in Zusammenarbeit mit Julia Leupold Künstlerische Gestaltung: Katarzyna Przezwańska, Piotr Kopik, Tomasz Czuban Als Auftakt der gemeinsamen Ausstellungs- und Veranstaltungsreihe „Freiheit zur Freiheit“ zeigt das Kunsthaus Dresden das Werk einer der einflussreichsten Persönlichkeiten der polnischen Kunstszene nach dem Ende des Zweiten Weltkrieges, Marian Bogusz (1920-1980). Bogusz’ Werk basierte auf der Vorstellung einer künstlerischen Moderne als Motor gesellschaftlicher Entwicklungen, die Literatur, Malerei und Musik, aber auch Wissenschaft und Technologie miteinander vereint. Noch während seiner Internierung im KZ Mauthausen entwarf Bogusz die Vision einer Architektur für eine internationale Künstlerkolonie auf den Ruinen des Konzentrationslagers. Neben einer Auswahl von Malerei und Grafik konzentriert sich die Ausstellung auf Marian Bogusz’ moderne Visionen im Grenzbereich zwischen Malerei, Bildhauerei, Architektur und Stadtplanung – und die Hoffnung, die Kunst werde durch ästhetische Veränderungen einen gesellschaftlichen Wandel herbeiführen. "The Joy of new constructions" ist eine Ausstellung der Zachęta Galerie, Warschau. Die Ausstellung wird gefördert durch die Homann Stiftung. Im Rahmen der Ausstellungsreihe "Freiheit zur Freiheit", ein Projekt innerhalb des Programms "Freiraum" des Goethe-Institutes. „Freiraum“ ist ein Projekt der Goethe-Institute in Europa in Zusammenarbeit mit 53 Akteuren aus Kultur, Wissenschaft und Zivilgesellschaft. Rund 40 europäische Städte gehen bis März 2019 der Frage nach: Was ist Freiheit heute in Europa? Wo ist sie in Gefahr? Wie stärken wir sie? * Kuratiert in Zusammenarbeit mit Annika Üprus (Kanuti Gildi SAAL, Tallinn) von Christiane Mennicke-Schwarz, Daniela Hoferer, Robert Thiele (Kunsthaus Dresden) In Zusammenarbeit mit Kanuti Gildi SAAL, Tallinn. "The Joy of new constructions" ist eine Ausstellung der Zachęta Galerie, Warschau. „Freiraum“ ist ein Projekt der Goethe-Institute in Europa in Zusammenarbeit mit 53 Akteuren aus Kultur, Wissenschaft und Zivilgesellschaft. Rund 40 europäische Städte gehen bis März 2019 der Frage nach: Was ist Freiheit heute in Europa? Wo ist sie in Gefahr? Wie stärken wir sie? Gefördert durch die Homann Stiftung
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posted 13. Jun 2018

Martin Schwenk - Schaumfeld

08. Jun 201821. Jul 2018
opening: 06. Jun 2018 19:00
Martin Schwenk - Schaumfeld 08.06.2018 - 21.07.2018 Eröffnung: Freitag, 8.06.2018 19:00 Uhr "Was für einen Zweck hat es, dass man ein Bild macht, dass genau wie die Natur sein soll, und alle wissen: Gerade die Natur kann ein Bild nicht sein, und soll und darf es auch nicht sein. Wer ist bloß auf den Einfall gekommen, dass die Natur nur was zum Sehen ist. Wer die Natur wirklich kennt, kann sie eher hören als sehen, fühlen als riechen, ja, weiß Gott, und vor allem ist man sie doch. Ganz gewiss ist die Natur vor uns, und hinter uns; sie ist über und unter einem, ja, und in einem drin; aber hauptsächlich ist sie doch in der Zeit, verändert sich ständig und gleitet ständig, ist mit jedem Augenblick anders, aber nie in einem viereckigen Rahmen." (Halldór Laxness, Atomstation, 1948) Die Ausstellung von Martin Schwenk ist die dritte Folge einer Reihe, die sich unter verschiedenen Aspekten mit dem Verhältnis von Natur und Kunst auseinandersetzt. Dabei wird in der Kunst Natur einerseits als Basis und Gegensatz zur Kultur, anderseits als ästhetische Einheit der Wahrnehmung und Vorstellung begriffen. "Nach meiner Auffassung schafft Skulptur die Möglichkeit einer Betrachtung und Empfindung, wie sie auch in der Natur entstehen könnte. Allerdings nicht durch Imitation von Natur, sondern, indem sie die Mechanismen von natürlichem Wachstum und kulturell geprägter Naturbetrachtung zusammenbringt. So entsteht etwas, was auf unsere Vorstellung von Natur anspielt. 
In der Ausstellung für den Neuen Kunstverein Wuppertal wird es unter anderem um die formalen Qualitäten von PU-Schaum gehen, der ungewöhnliche Parallelen zu natürlichem Wachstum aufweist." (Martin Schwenk)
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posted 12. Jun 2018

Perspicuus. Jakob Emdal und Jonas Kasper Jensen

08. Jun 201822. Jul 2018
opening: 07. Jun 2018 19:00
Perspicuus. Jakob Emdal und Jonas Kasper Jensen 08.06.2018 - 22.07.2018 Presserundgang: 07.06.2018 14:00 Uhr Foyer basis Eröffnung: 07.06.2018 19:00 Uhr Kuratiert von Christin Müller Die Duo-Show „Perspicuus“ zeigt eigens für die Ausstellung entwickelte Neuproduktionen, die in enger Zusammenarbeit der beiden dänischen Künstler entstanden sind. Mithilfe von Fotografie, Installation, Sound und Malerei nimmt die Ausstellung insbesondere die konstante Entwicklung unterschiedlicher Formen des Bildes im Kontext des technologischen Fortschritts und geschichtlicher Veränderungen in den Blick. Die Künstler setzen sich in ihren konzeptuellen Arbeiten sowohl die Strukturen der netzbasierten Bildpro­duktion und -rezeption als auch mit der Konstrukti­on und Darstellung algorithmischer Prozesse auseinander. Fotografien kulturhistorischer Artefakte, zeitgenössische Bildproduktion und visuelle Ausdrucksformen zukünftiger Entwicklungen treffen in der Ausstellung der beiden Künstler aufeinander. Sie zeigen eine künstlerische Annäherung an die Beschaffenheit und Eigenheiten von Bildern, deren Rezeption und Bedeutung sich wandelt oder erst noch erschlossen werden muss. Es entstehen hierbei vielschichtige Werke, die gemäß dem Ausstellungstitel Perspicuus (lat. transparent, durchsichtig) die digitalen und kulturellen Vernetzungen unserer Zeit als Form einer neuen Bildlichkeit greifbar machen. Jakob Emdal (*1982 in Kopenhagen, Dänemark) lebt und arbeitet in Kopenhagen, Dänemark. Er studierte von 2008 – 2009 an der der Cooper Union, School of Art, New York und von 2005 – 2010 an der Städelschule, Staatliche Hochschule für Bildende Künste in Frankfurt. Seine Arbeiten waren in zahlreichen Einzel- und Gruppenausstellungen zu sehen. Einzelausstellung (Auswahl): Somber Tones, Projektrum Schaufenster, Kunstverein Düsseldorf (2010); Gestus, Overgaden Institut for Samtidskunst, Kopenhagen (2012); Skønhed består i at kunne se langt, Four boxes gallery, Krabbesholm Højskole, Skive (2014). Gruppenausstellung (Auswahl): Harmony, Galleri Fjaltring, Lemvig (2010); Correspondence, Yafoo23, Jerusalem (2010); Le Choix de Paris, Cité des arts, Paris (2012). Jonas Kasper Jensen (*1982 in Kopenhagen, Dänemark) lebt und arbeitet in Kopenhagen, Dänemark. Er studierte an der Royal Academy of Fine Arts, Kopenhagen und der Städelschule, Staatliche Hochschule für Bildende Künste in Frankfurt. Seine Arbeiten waren in zahlreichen Ausstellungen zu sehen. Ausstellungen in Kooperation (Auswahl): Jonas Kasper Jensen & Malwina Migacz: Running Residency 3, Running Residency, London (2015); Wulkan: Polite emblems, Rockwool Foundation Research Unit, Kopenhagen (2016); Lehman Brothers: Ballistic First Movers, OK Corral, Copenhagen (2016); Jonas Kasper Jensen, Rebecca Ann Tess & Flo Maak: The doubled non-place, Huset for kunst og design, Holstebro (2017); Jonas Kasper Jensen & Johannes Sivertsen: Occidenten, Fouboxes, Skive (2017). Gruppenausstellungen (Auswahl): Lehman Brothers: Surfin’ the Bucharest Billboards, Bucharest Biennale 7, Bukarest (2016); Lehman Brothers: Trojan Barclays Horse, Kunsthal Aarhus Instatata, Aarhus (2017); Lehman Brothers: Jumping Lithuanian Flash Jack, Centras, Kaunas (2017); Lehman Brothers: Enjambre / Swarm, National Museum of Mexican Art, Mexiko City (2017); Lehman Brothers: Money, Laundering, SixtyEight art institute, Kopenhagen (2017).

artists & participants

Jakob Emdal,  Jonas Kasper Jensen 
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posted 11. Jun 2018

VIK MUNIZ

08. Jun 201808. Sep 2018
VIK MUNIZ 08.06.2018 — 08.09.2018 Vik Muniz is a world-renowned artist and photographer working in Rio de Janeiro and New York. Muniz began his artistic career as a sculptor, but later shifted his focus to graphic arts and photography. Inspired by the work of postmodernists Cindy Sherman and Jeff Koons, Muniz uses popular images in his works and presents them in a new way, thus demonstrating one of the fundamental ideas of contemporary art: the primacy of concept over uniqueness of visual context. Experimenting with a wide range of non-traditional materials (dry pigments, dust, sugar, chocolate, diamonds, caviar, children’s toys, garbage, scraps of magazines), Muniz reproduces the works of famous artists, creating short-lived copies of iconic pieces of art. Artist captures the results of his work in series of high-resolution photographs, rediscovering the masterpieces of Van Gogh, Picasso, Malevich, Klimt, Mondrian and Matisse. Muniz not only acquaints the viewer with the phenomenon of appropriation in photography, but also with the idea of using new techniques in creating works of art, raising the question of the primacy of an idea and the various forms of expression. He calls himself “an observer of the skirmish between structuralist and poststructuralist criticism”. Muniz is convinced that art should change the world for the better and should not be elitist at all. He seeks to make it more accessible. Through the implementation of unexpected techniques and thoughtful visual puns, his works capture the interest of any viewer, from connoisseurs of museum classics to a younger audience. The apparent ease of presentation of complex images turns his work into a kind of conduit to a new world of art and technology, inextricably linked to the achievements of early master artists and art history in general. Time magazine named Muniz one of the leading artists of the new millennium and the New York Times has recommended his work as a sure-fire antidepressant, describing it as “an idea wrapped in surprise and laughter.” However, in addition to humor in the works of Muniz, there is also a deeper social implication: he draws the public’s attention to global issues, such as pollution and the difficult living conditions of the low-income population of Brazil. His documentary “Waste Land” (2010) was nominated for an Oscar and won several prizes at the Toronto, Berlin and Sundance film festivals. It chronicles the largest landfill in the world, “Jardim Gramacho” on the outskirts of Rio de Janeiro. After auctioning off his series, “Pictures of Garbage”, in the UK, Muniz donated the proceeds to the Garbage Pickers’ Association of Jardim Gramacho, which marked the beginning of his extensive charitable work. Vik Muniz participates in many educational and social projects in Brazil and the United States. In 2011, he was appointed as a UNESCO Goodwill Ambassador. In 2014, Vik began construction of Escola Vidigal, a school of art and technology for children from low-income families in Rio de Janeiro, and in 2015 his series “Colonies” was featured in the Gates Foundation project “The Art of Saving a Life”. Muniz lectures at major universities and museums around the world, such as Oxford, Harvard and Yale Universities; The Museum of Modern Art (MoMA), New York; and The Museum of Fine Arts in Boston, as well as in public venues, including TED conferences, The World Economic Forum, an internship program at the Massachusetts Institute of Technology and the Skowhegan School of Painting and Sculpture. The works by Vik Muniz have been presented in collections of such museums as the Victoria and Albert Museum (London), Tate (London), the Museum of Modern Art (MoMA) in New York, the Guggenheim Museum (New York), the Metropolitan Museum of Art (New York), the Whitney Museum of American Art (New York), the Museum of Fine Arts (Boston), the Art Institute of Chicago, the Menil Collection Museum (Houston, USA), the Museum of Contemporary Art in São Paulo, the Museum of Modern Art in Rio de Janeiro (MAM), the Museum of Contemporary Art of Rome (MACRO), the Irish Museum of Modern Art (Dublin), the Joan Miró Foundation (Barcelona), the Tel Aviv Museum of Art, the Long Museum (Shanghai) and the Museum of Contemporary Art Tokyo. ‘This Is Not a Ball’ is a documentary created by Vik Muniz and director Juan Rendón, presented at the exhibition, was filmed on the eve of the World Cup in Brazil in 2014. Muniz traveled the world for nine months, visiting Rio de Janeiro, Mexico City, New York, Boston, Paris, Kyoto, Nuremberg in Germany and Sialkot in Pakistan, where he researched the influence of football on the social life and general culture of these cities. During his trip, Muniz met with representatives of various groups: members of the largest football clubs, social activists and distinguished scientists. The film tells the stories of people inspired by the idea of football, while at the same time touching on topics of society, history, astrophysics and gender policy. Leading up to the World Cup, Muniz created one of his largest scale projects, an installation of 10,000 footballs in Mexico City’s Azteca Stadium. Pictures of the installation and the balls used to create it were later sold at an auction in support of various charity funds.

artist

Vik Muniz 
Gary Tatintsian Gallery, Moscow °

Serebryanicheskaya naberezhnaya 19
109028 Moscow

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posted 10. Jun 2018

EATING EACH OTHER

24. Mar 201801. Jul 2018
EATING EACH OTHER On the dynamics of reappropriation 24.03.2018 — 01.07.2018  Curated by Michiel Vandevelde Participating artists Linah Dalifa, Pieterjan Ginckels, Hamza Halloubi, Ermias Kifleyesus, Jaha Koo, Mashid Mohadjerin, Radouan Mriziga, Ogutu Muraya, Amanda Piña, Aneta Rostkowska & Jakub Woynarowski, Myriam Van Imschoot, Arkadi Zaides, Oliver Zahn & Julian Warner Group exhibition and public program Western-European cities have become melting pots of different minority cultures. Yet the Western ‘Enlightened’ values still reign. As a possible tool of resistance against an all-consuming liberal ideology, Eating Each Other presents the strategy of ‘reappropriation’, by which dominant patterns of thought and behaviour are mixed with one’s own knowledge, customs and rituals to create something entirely new. The question remains: who is eating and who is eaten? In 2018, Antwerp will for the first time have more residents with a migrant background than it will have native Belgian residents. This will make it a so-called ‘majority-minority city’, a city in which the majority is made up of a wide range of minorities. As such, the city will no longer be characterised by a distinct ethnic, religious and cultural homogeneity. In light of this, to look at ‘citizenship’, values and norms from a Western perspective is no longer a valid approach. The exhibition and public programme ‘Eating Each Other’ looks at the strategy of reappropriation. The project is inspired by the 'Manifesto Antropófago' (‘Cannibalist Manifesto’) written by Brazilian poet and theorist Oswald de Andrade in 1928. In this poetic text, de Andrade proposes to cannibalise a dominant culture by eating it, digesting it and excreting it in an entirely new form. Processes of reappropriation enable people to create a space that they recognise as their own. At the same time, they reveal an interesting power dynamic. They are simultaneously a tool of domination and a means of resisting domination. It is this dynamic that ‘Eating Each Other’ seeks to reflect. The ‘cannibalistic’ process is presented through artworks that themselves are proposals for reappropriation, as well as through groups of works that mutually reappropriate in various ways.
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posted 09. Jun 2018

ZERO

09. Jun 201822. Apr 2019
ZERO 09.06.2018 - 22.04.2019 HEINZ MACK, OTTO PIENE, GÜNTHER UECKER, LUCIO FONTANA, YVES KLEIN, HENK PEETERS, NANDA VIGO, ADOLF LUTHER, ENRICO CASTELLANI, JESÚS RAFAEL SOTO, GIANNI COLOMBO, GRAZIA VARISCO, CHRISTIAN MEGERT with Yaacov Agam, Josef Albers, Getulio Alviani, Arman, Hans Arp, Bernard Aubertin, Pol Bury, Gabriele De Vecchi, Marcel Duchamp, Wilfried Elfers, Karl Gerstner, Yayoi Kusama, Walter Leblanc, Julio Le Parc, Roy Lichtenstein, François Morellet, Robert Rauschenberg, Konrad B. Schäuffelen, Nicolas Schöffer, Paul Talman, Jean Tinguely, Victor Vasarely 'Zero is the beginning.' In the late 1950s some students in Düsseldorf started to make art that ran against the style and feeling of the moment. This was Germany, in the aftermath of World War II. The mood wasn’t light. But for these young people, it was time to break free from the anxious individualism that seemed to oppress the artists of the time. Zero was named for its promise of new beginnings. (Later, 'ZERO' denoted the international incarnation of a movement.) Art was not something to be painfully extracted in solitude, but to be assembled and constructed alongside your peers, using whatever materials you could get your hands on at the time: cardboard, metal, cloth, mirrors, smoke... They banged nails, smashed bottles, poked holes, and cut up each other’s canvases. Strikingly disparate styles and techniques were united by the artists’ drive to provoke a strong sensory experience in the viewer. One-night exhibitions, put together in their studios, drew enthusiastic crowds, and eventually, the attention of Germany, Europe, and beyond. They weren’t interested in trawling through the ashes of the far or recent past. They wanted to stage an exhibition on the moon. 'Yes, I dream of a better world. Should I dream of a worse? Yes, I desire a wider world. Should I desire a narrower?' —Otto Piene For the first time in Australia, some of the key international figures of the movement will be shown together at Mona. You will pass through a series of chambers, each an immersive exploration of an important aspect of the Zero phenomenon: vibration. Artists such as Heinz Mack, Otto Piene, Günther Uecker, Yayoi Kusama, Nanda Vigo, Yves Klein, Marcel Duchamp and Lucio Fontana exploit the effects of reflection, saturation, grade, density, and distortion to produce a sense of movement in the viewer. 'Zero is silence. Zero is the beginning. Zero is round. Zero spins. Zero is the moon.' —Heinz Mack, Otto Piene and Günther Uecker, Zero's founding trio The original group disbanded in 1966, marking the occasion with a party. Heinz Mack wrote that he found the ending 'quite as liberating' as the beginning. But was this intensely creative moment in art history really concluded so decisively? Perhaps ZERO is better thought of less as an art-historical epoch than as a timeless 'way of seeing'. Either way, it was part of an opening up, over the course of the twentieth century, of traditional ideas about what art could be. These artists dreamed of an exhibition on the moon. Perhaps Tassie is as close (or far) as they are going to get. Exhibition concept by Tijs Visser

curator

Tijs Visser 
Mona - Museum of Old and New Art, Hobart °

655 Main Road, Berriedale
Tasmania 7011 Hobart

Australiashow map
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posted 08. Jun 2018

RICHARD REZAC. ADDRESS

21. Apr 201817. Jun 2018
RICHARD REZAC. ADDRESS 21.04.2018 - 17.06.2018 Address brings together twenty sculptures by the Chicago-based artist Richard Rezac produced over the last two decades. Alongside a number of new works commissioned by the Renaissance Society, the exhibition features primarily recent sculptures and a small selection from earlier in his career. Presented together, they demonstrate the artist’s ongoing engagement with the sculptural logic of geometry and the elusive mechanisms of interpretation. The exhibition title, Address, plays on the multivalent quality of the word. As an action, it reflects the artist’s deliberate creation and selection of works in response to the Renaissance Society’s architecture and nods to the sculptures’ relationship to their presumptive audience. As a noun, it recalls for the artist significant geographical contexts: his studio, where all of the works in Address were produced, as well as specific locations reflected in a number of the works’ titles. Wall-mounted, free-standing on the floor, or hung from the ceiling, Rezac’s abstract works are composed of forms fabricated from wood, glass, aluminum, and bronze, for example. While the artist cites a practice of improvisational drawing as the starting point for each sculpture, he also acknowledges the influence of architecture on his work: various periods and styles from Japan, Europe, and the United States have informed his approach to composition and use of materials, techniques, and ornamentation. Avoiding symbolism or illustration, while at the same time not concrete or closed, Rezac’s sculptures enact a formal investigation through their determined construction and precise positioning in space. Their scale is modest in relation to the Renaissance Society’s lofty gallery and closer to that of the bodies of audience members who encounter them. As such, the works exude a certain familiarity, an invitation to explore the multiple layers and possible readings of each piece. Curated by Solveig Øvstebø. RICHARD REZAC lives and works in Chicago. His sculpture has been shown nationally and internationally, most notably in a 2006 survey of his work at the Portland Art Museum. He has recently exhibited at James Harris Gallery, Seattle (2017), the DePaul Art Museum, Chicago (2016), Galerie Isabella Bortolozzi, Berlin (2015), and Marc Foxx, Los Angeles (2015). Rezac has received fellowship grants from the Guggenheim Foundation, the Joan Mitchell Foundation, and the Tiffany Foundation, and in 2006, the Rome Prize from the American Academy in Rome. He is an adjunct professor at the School of the Art Institute of Chicago.

artist

Richard Rezac 

curator

Solveig Ovstebo 
Renaissance Society, Chicago

The University of Chicago | Cobb Hall, 5811 S. Ellis Ave.
60637 Chicago

United States of Americashow map
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posted 07. Jun 2018

Winfred Gaul zum 90. Geburtstag / Malerei als offenes System

17. May 201814. Jul 2018
opening: 17. May 2018 19:30
Winfred Gaul zum 90. Geburtstag / Malerei als offenes System 17.05.2018 - 14.07.2018 Eröffnung am 17.05.2018 19:30 Uhr Es spricht: Dr. Kuno Schlichtenmaier Winfred Gaul von seiner Werkentwicklung her verstehen zu wollen, geht an seiner Intention vorbei. Zum einen war seine Hinwendung zur immer wieder totgesagten Malerei bereits eine Absage an Fortschritt oder Rückschritt. »Für mich … liegt die Faszination der Malerei … gerade in der Tatsache begründet, dass niemand mehr von ihr etwas Neues erwartet«, um den Überraschungsmoment auszukosten, mit dieser an sich innovativen Erkenntnis mitten in die Avantgarde zu platzen. Zum anderen unterstrich Gaul damit einen Freiheitsdrang, der ihn »innerhalb der Grenzen meines Mediums … wie ein Fisch im Wasser« fühlen ließ, um sich »der tödlichen Umarmung des Erfolgs sowie der Versklavung durch das eigene Image« entwinden zu können. In der Konsequenz besann sich der Proteus unter den modernen Künstlern auf die Grundelemente der Malerei, um seine Bildwelt stets neu zu erfinden: Zeichnung, Farbe, Malinstrument, Malgrund. Was in der Philosophie eines Karl Popper die Falsifikation als Methode war, galt auch für Winfred Gaul in seiner Infragestellung der Malerei als »vorläufiges Ergebnis«. Zufällig erschien Poppers »Logik der Forschung« (1934) 1959 in englischer Übersetzung, als Gaul sich vom Informel löste, um fortan jede Stilphase zu konterkarieren. Man kann dem Werk schrittweise folgen von prä-informellen Strukturen und dem Informel über die Wischbilder, Reduktionen, Farbmanuskripte und Überschreibungen (»poèmes-visibles«, »-découpés«) bis zu den Signal-/Verkehrsbildern, zum Hard Edge und zur Idee des »Recycling«, der »Zeichenmarkierungen« und »Farbmarkierungen«. Das verkennt aber die Lust am Neubeginn, das Spiel mit der Serie, das Anders-, Quer- und Nochmaldenken und vor allem: das Loblied auf die Malerei. »Schließlich«, so Gaul, bin ich nicht Künstler geworden, um mich und andere zu langweilen«. Die Galerie Schlichtenmaier zeigt das Werk Winfred Gauls in seiner Vielfalt, gemäß seinem Credo von der Malerei als einem offenen System. Biografie 1928 geboren am 9. Juli in Düsseldorf 1948 Bildhauerlehre 1949–50 Studium der Kunstgeschichte und Germanistik an der Universität Köln 1950–53 Studium an der Staatlichen Akademie der Bildenden Künste in Stuttgart bei Willi Baumeister und Manfred Henninger 1953 Rückkehr nach Düsseldorf-Kaiserswerth; erster Paris-Aufenthalt 1955 eigenes Atelier; Anschluss an die Gruppe 53 1958 Preis des Kulturkreises Bundesverband der Deutschen Industrie 1959 Teilnahme an der documenta II 1961 Aufenthalt in Italien 1962 Aufenthalt in New York; an der Autobahn Mailand-Monza errichtet er seine ersten Verkehrszeichen 1963 QUIBB-Manifest 1964 Villa Romana-Preis, Florenz 1964–65 Gastdozent an der Staatlichen Kunstschule in Bremen 1965/66 Visiting Lecturer at Bath Academy and Regional College of Arts in Hull 1977 Teilnahme an der documenta 6 1984 das Land Nordrhein-Westfalen ernennt ihn zum Professor h.c. 1994 Verleihung des Lovis-Corinth-Preises 2003 gestorben am 3. Mai in Düsseldorf-Kaiserswerth

artist

Winfred Gaul 
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posted 06. Jun 2018

Alexander Kluge. Pluriverse

06. Jun 201830. Sep 2018
Belvedere 21 Alexander Kluge. Pluriverse 06.06.2018 - 30.09.2018 On the occasion of Alexander Kluge’s 85th birthday, Belvedere 21 presents a comprehensive exhibition destined to visualize the core of his multimedia oeuvre. Alexander Kluge is one of Germany’s most versatile intellectuals. While he is a lawyer, filmmaker, and writer, he primarily sees himself as an author. Using images, texts, and objects, Kluge creates ever new constellations, the meanings of which are mainly derived from the nature of their arrangement. As a contemporary chronicler, he has won a number of awards for his interdisciplinary works that span from literary and analytical books to film and television formats. The show Pluriverse pays homage to Kluge's core themes, such as biography, the circus, or the Kluge-specific "cross mapping". In close collaboration with the author, his virtuosic, cinematic montages have been translated into three-dimensional space. Biographical specifics and improbable coincidences constantly feature alongside comprehensive themes such as the universe, evolution, love, war and other disasters. Alexander Kluge has specially produced new films for the exhibition, including a 5-channel projection, which revolves around film history. Moreover, for the first time Kluge offers us a glimpse into his extensive archive of short film sequences. Essential to Kluge's work are his exchanges with artists Kerstin Brätsch, Thomas Demand, and Sarah Morris, among others, whose works he puts in relation to his cinematic work. In cooperation with Folkwang Museum in Essen, Germany Curator: Axel Köhne

curator

Axel Köhne 
Belvedere, Wien °

Prinz Eugen-Straße 27
A-1030 Vienna

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posted 05. Jun 2018

Tschumi Alumni. How art works? How culture works? Tymek Borowski, Maruša Sagadin

05. May 201821. Jun 2018
opening: 04. May 2018 18:30
Tschumi Alumni. How art works? How culture works? Tymek Borowski, Maruša Sagadin 05.05.2018 — 21.06.2018 Press talk 04.05.2018 11:00 Opening 04.05.2018 18:30 We live in confusing and certainly complex times. In a common Europe so important for both countries, Poland and Austria are linked by a rich cultural life that draws on a specific and in part similar historical awareness and a tradition-based picture of the world that is built on that. How do are and culture work? What is the zeitgeist supposed to be? What contribution do the persons addressed by it make, which subjects are we talking about? And finally: How can an art and cultural institution convey these values and ambitions in the spirit of a productive exchange and good neighborliness? The artists Tymek Borowski and Maruša Sagadin offer several pointed answers to these questions. The exhibition Tschumi Alumni. How art works? How culture works? is dedicated to the question of the combination and productive exchange of art and culture and possible options for their effect on the individual and society. In their works the artists Tymek Borowski (b. 1984 in Warsaw and lives in Warsaw) and Maruša Sagadin (b. 1978 in Ljubljana and lives in Vienna) reflect and question critically processes related to the exchange of information and data as well as traditional cultural relationships. Whereas Borowski’s artistic roots are in painting, in his more recent works he has increasingly dedicated himself to digital formats as such video and animation. Sagadin, who works primarily with sculpture, refers to architecture in her works and questions its function and role in today’s society. The works of Tymek Borowski are a kind practical set of instructions explaining how culture and art are to be “employed,” how one can understand them better—with a pragmatic goal of living “better.” The simple metaphors used in the videos How Art Works? and How Culture Works? have the task of defining and revealing the mechanisms of the phenomena art and culture. The works on show here, whose making was preceded by solid research, revolve around themes that particularly preoccupy their authors, such as the meaning of producing contemporary art and integrating it into the context of other activities. The conclusions resulting from the works are, however, more universal. The aesthetic of these works and the radical method of simplifying the events described are the mirror image of the omnipresent trend to the optimization of all activities and processes. Borowski transitions fluidly from humorous optimism to devastating self-irony, as in the multi-part homonymous image How Art Works? in which he exposes his own strategy for giving the impression that he is a good artist. In his most recent works Borowski, addresses the question of how digital information and data can be depicted visually in an “analog” way. This tendency is already evident in the portrait paintings seen in the exhibition. The artist does not produce a precise likeness of his models, which are often passed on famous celebrities, but rather defamiliarizes them powerfully—what remains is an abstract idea of what characterizes people and subjects and how they reveal themselves (or allow themselves to be revealed) in society. Maruša Sagadin is showing a series of objects titled Tschumi Alumni based on architectonic forms—for example, window openings that look like fists punching the wall but that function in this context as the legs of sculptures. Nearly identical rectangular forms are stretched over them. The line between the basis (leg), which is an object unto itself, and the life-size sculpture—much like the leg to the body, the individual to society, or architecture to the city—is blurry and unclear. The geometrically formed surfaces are polished to a shine and look almost like freely hanging pictures. Their color palette recalls the Washington Color School, Austrian Lilien porcelain, “political” colors, and pop culture. The selection of simple materials, such as concrete, polystyrene, and plywood of the sort found in a hardware store, herald the artist’s interest in everything that seems deceptive and strange. In her works Sagadin also refers to traditional architectural forms, such as the Dorian column or caryatids, and translates them into a postmodern, feminist context. The artist arranges the sculptures, which are at the same time figures, in combination with the columns of the exhibition space. It seems almost as if the group of objects —as a kind of counterpart—were entering into a dialogue with the other sculptures and the specific architecture of the space. The sculptures seem to depict a group of people and are a metaphor for a person or marginalized group that is planted into the social skeleton of a city and its infrastructure. A city in which the main focus is on pleasure, consumption, work, and a cult of the body. In the outdoor area of the Künstlerhaus—and hence in the public space of the municipal part of Graz—Sagadin has placed an oversized bench and as such usable sculpture. On the upper side of the colorfully painted sculpture DORIS are props such as lipstick and platform shoes, between which the passersby can sit and rest from the bustle of busy everyday life and calmly look around and perhaps talk to one another. Tymek Borowski studied at the Academy of Fine Arts in Warsaw and works as a painter, screenwriter, and infographic artist. He has been a cofounder of several art collectives and galleries such as the online project Billy Gallery and the Czosnek Studio for Experimental Design. He has received the VIEWS Deutsche Bank Foundation Audience Award (2013) and the Polityka Pass Award (2016). Maruša Sagadin graduated with a degree in architecture from the Technical University of Graz before switching to the Academy of Fine Arts in Vienna and studying sculpture. In addition to some awards, she has completed a one-year ISCP Residence in New York in 2016 and was granted a MAK Schindler House research scholarship in 2009–10. Tschumi Alumni. How art works? How culture works? has been shown previously at the Austrian Cultural Forum in Warsaw / Austriackie Forum Kultury (November 20, 2017–January 19, 2018) and is now being presented in expanded form at the Künstlerhaus, Halle für Kunst & Medien in Graz. The exhibition is accompanied by a supporting program and by essays on the online platform of the KM–Journal (journal.km-k.at). curated by Sandro Droschl

artists & participants

Tymek Borowski,  Marusa Sagadin 

curator

Sandro Droschl 
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posted 04. Jun 2018

MARINA ABRAMOVIĆ - TWO HEARTS

27. Apr 201822. Jun 2018
MARINA ABRAMOVIĆ - TWO HEARTS 27.04.2018 - 09.06.2018 ERÖFFNUNG DER AUSSTELLUNG Donnerstag, 26. April 2018, 19 Uhr Es spricht: Alanna Heiss, Gründerin und Direktorin Clocktower Productions, Gründerin und ehemalige Direktorin MoMa PS1. Marina Abramović ist anwesend. „We can have so many hearts inside ourselves. In my lifetime, I have discovered two hearts. This show is about my reflections on duality, the power of female energy, and temporality.“ - Marina Abramović (Wien, 26. März 2018) Marina Abramović ist eine Pionierin der Performance als visuelle Kunstform. Seit den 1970er Jahren benutzt sie ihren Körper als Subjekt und als Medium in ihren strapaziösen Langzeit- Performances, um physische, mentale und emotionale Grenzen zu testen – oft riskiert sie sogar ihr Leben auf der Suche nach erhöhtem Bewusstsein, Transzendenz und Selbstverwandlung. Das Konzept der Zeit ist in den Arbeiten der serbischen Künstlerin ein ebenso wichtiger Aspekt wie die Einbindung des Publikums, so auch bei der Aktion Thomas Lips (1975) in der Galerie Krinzinger und in ihren Performances Seven Easy Pieces (2005) im Guggenheim Museum, New York, The Artist is Present (2010) im Rahmen ihrer gleichnamigen Retrospektive im MoMA, New York oder 512 Hours (2014) in der Londoner Serpentine Gallery. Two Hearts beschäftigt sich mit dem Herzen als Sitz der Seele, der moralischen Identität und des Menschseins. Zwei oder mehrere Herzen zu haben, bedeutet, dass verschiedene Versionen des Selbst in einem wohnen. Marina Abramovićs Ausstellung vereint eine Gruppe an Werken die Dualitäten behandeln und Themen wie das Selbstportrait, die weibliche Energie und die weibliche Identität, die von Beginn an elementarer Bestandteil des künstlerischen Schaffens waren. Die Ausstellung bespielt die Haupträume, den Showroom und das Kabinett der Galerie Krinzinger. Zu sehen sind großformatige Fotoarbeiten und Leuchtkästen, die sich mit Leben und Tod, dem Spirituellen und Physischen, Licht und Dunkelheit, Existenz und Leere und dem Thema Jungfrau und Kriegerin als Verkörperung der menschlichen Geschichte der Moral auseinandersetzen. Unter anderem sind die Leuchtkästen Carrying Elvira (2006) und Virgin Warrior (2006), das Portrait with Maracas (2006), Me and Me II, eine Fotografie aus dem Jahr 2008, sowie aktuelle Arbeiten, darunter fünf neue Lichtboxen Untitled (2018), eine Skulptur aus der Serie Communicator (2012 – 2018), die Serie Study for A Monument (a, b, c, d) (2018) und die überarbeitete Filmfassung von Dragon Heads (1990 – 1992, 2018) zu sehen. Seit Beginn ihrer Karriere in Belgrad in den frühen 1970er Jahren leistet Marina Abramović mit ihren Performances als eine visuelle Kunstform Pionierarbeit und schafft einige ihrer wichtigsten frühen Werke. Der Körper war immer ihr Subjekt und Medium. In ihren Arbeiten, die die einfachen Handlungen des täglichen Lebens ritualisieren, lotet sie ihre körperlichen und mentalen Grenzen aus und hält Schmerzen, Erschöpfung und Gefahr auf ihrer Suche nach emotionaler und spiritueller Transformation stand. Von 1975 bis 1988 traten Abramović und der deutsche Künstler Ulay zusammen auf und beschäftigten sich mit Beziehungen der Dualität. Abramović kehrte 1989 zu Soloauftritten zurück. Marina Abramovićs Arbeiten – Performances, Sounds, Fotografien, Videos, Skulpturen und transitorische Objekte für den menschlichen und nicht-menschlichen Gebrauch – waren bereits in zahlreichen Einzelausstellungen in den USA und Europa und in vielen großen internationalen Gruppenausstellungen wie z.B. auf der Biennale di Venezia (1976 und 1997) und auf der documenta VI, VII und XI in Kassel zu sehen. Für ihre außergewöhnliche Videoinstallation/Performance Balkan Baroque in Reaktion auf den Jugoslawienkrieg wurde Marina Abramović 1997 mit dem Goldenen Löwen als „Beste Künstlerin“ ausgezeichnet. 2003 erhielt sie den Bessie Preis für ihre 12-tägige Performance The House with the Ocean View in der Sean Kelly Gallery, New York. 2005 fand die Premiere der Performancereihe Seven Easy Pieces im Solomon R. Guggenheim Museum, New York statt. 2008 wurde ihr von Bundespräsident a.D. Heinz Fischer das Österreichische Ehrenzeichen für Wissenschaft und Kunst verliehen. 2011 folgte die Ernennung zum Ehrenmitglied der Royal Academy of Arts (Hon. RA), London. Mit ihrer Retrospektive The Artist is Present (2010) im MoMA, New York, die auch ausschlaggebend war für den gleichnamigen, von Thyssen- Bornemisza Art Contemporary koproduzierten Film, erhielt sie 2012 nach der europäischen Filmerstaufführung auf den 62. Internationalen Filmfestspielen Berlin den „PanoramaPublikumsPreis“ in der Kategorie „Dokumentarfilm“. Im selben Jahr feierte Abramovićs Opernperformance The Life and Death of Marina Abramović, unter der Regie von Robert Wilson, Premiere im Teatro Real in Madrid und das partizipative Projekt The Abramović Method fand zum ersten Mal im PAC in Mailand statt. 2016 erschien ihre packende Autobiografie Walk Through Walls. Von 20. April bis 12. August 2018 ist die Retrospektive The Cleaner in der Bundeskunsthalle in Bonn zu sehen. Zuvor wurde The Cleaner im Moderna Museet, Stockholm, im Louisiana Museum of Modern Art, im Humlebæk und im Henie Onstad Kunstcenter, Høvikodden präsentiert. Im September 2019 wandert die Retrospektive in den Palazzo Strozzi nach Florenz. Zeitgleich mit ihrer Ausstellung Two Hearts in der Galerie Krinzinger zeichnet die Denkwerkstatt GLOBART Marina Abramović als bedeutendste Performancekünstlerin der Gegenwart mit dem GLOBART AWARD 2018 aus. Die Verleihung findet am 25. April 2018 im Kunsthistorischen Museum Wien statt. Ursula Krinzinger und Marina Abramović blicken auf eine jahrzehntelange Freundschaft und Zusammenarbeit zurück. Bereits 1975 sind in der Galerie Krinzinger in Innsbruck unter dem Titel Photo Documentation of Performances Rhythms 10, 2, 5, 4, 0 ausgewählte Arbeiten von Marina Abramović und ihre Performance Thomas Lips zu sehen. Zehn Jahre später überzeugt die Künstlerin mit der Arbeit Photographic Documentation of Performance 3 in der Gruppenausstellung Symbol Tier (1985) ebenfalls in der Innsbrucker Galerie. 1992 überrascht Marina Abramović in der Galerie Krinzinger mit ihrer Einzelausstellung Transitory Objects, zu welcher der gleichnamige Katalog erschienen ist, auch das Wiener Kunstpublikum. 2012 zeigt Marina Abramović unter dem Titel With Eyes closed I see Happiness im Rahmen einer Einzelausstellung Selbstportraits und Objekte. 2017 war die Serie Holding Emptiness (2012) in der Gruppenausstellung ICON zu sehen. Marina Abramović, 1946 in Belgrad geboren, lebt und arbeitet in New York.
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posted 03. Jun 2018

Judith Hopf in the x-room

10. May 201809. Sep 2018
Judith Hopf in the x-room 10.05.2018 - 09.09.2018 The very large brick pear and the walking house How do everyday objects, architecture and technology affect the human body, human behaviour and inter-human relationships? Berlin-based artist Judith Hopf explores these issues in art where humour is also a main factor. ‘Art shouldn’t be too serious,’ she says. Judith Hopf’s works are on display at SMK - National Gallery of Denmark from 10 May. Giant pears have been carved out of solid cubes built out of red bricks. The inherently illogical nature of producing pear-shaped sculptures out of square bricks is typical of the artist Judith Hopf (b. 1969). By having such easily bruised, perishable fruits shaped out of solid, durable bricks and scaling up the almost cartoonish pear shapes to form monumental sculptures, Hopf challenges our habitual views of the world. Hopf often employs humour in her works, injecting it as a disarming factor within the overall critical reflections typical of her practice. Things are rarely as simple as you might think. And this also applies to the title of her exhibition at SMK: OUT. Walking architecture ‘”Out” is an interesting word because it can have positive or negative connotations. On the one hand, being deemed “out” would be horrific within the world of fashion – and this applies within the world of art, too. No-one wants to be “out”! On the other hand, if you don’t “come out” in terms of your political ideas or sexual preferences, you won’t feel free and fulfilled as a human being. So there’s also a very positive side to the term “out”,’ explains Judith Hopf. She is interested in the marginalised, in what falls outside the norm, in what is situated on the peripheries. From this outsider position, her works challenge what is expected, habitual and conformist. The exhibition includes the video work bearing the same name: OUT. In this video, Hopf makes a reference to the American architect John Hejduk. In the 1980s, Hejduk proposed the construction of a new neighbourhood along Friedrichstrasse on the western side of the Berlin Wall: Berlin Masque. The project was never realised, but in 1988 Hejduk had a fragment of the original plan built in the Kreuzberg area of the city in the form of the distinctive postmodernist building complex known as the Kreuzberg Tower and Wings. The facades of the two side wings look like faces or masks: the windows are eyes lidded by awnings. At first, we are led to believe that Hopf filmed the actual building in Berlin. But when the house is seen to move in a later sequence, it turns out to be a scaled-down mock-up worn like a costume: the person inside lifts up the house and walks out of the picture. Here, Hopf puts an added spin on her original source of inspiration, but like Hejduk, she is keenly interested in the urban space as a living organism that affects and regulates our sense of community. When man and technology merge Made of bent sheet metal, the sculpture series Untitled (Laptop Men) emanate industrial functionality and at first glance appear to point towards the minimalist sculptures of the 1960s, which favoured industrially manufactured materials and non-figurative forms. Hopf’s sculptures resemble their abstract predecessors, but closer inspection reveals that her sculptures actually depict seated, standing and reclining human figures that have merged with laptops propped onto their bellies, chests or knees. Hopf takes an inquiring and critical look at the impact that technology has on the human body – for example at how laptops have almost become prosthetic extensions of the body, rendering us dependent on them. What does this do to individual human beings, and how has it affected our interaction with each other? The exhibition is produced in co-operation with KW Institute for Contemporary Art, Berlin. About Judith Hopf Judith Hopf (b. 1969) lives and works in Berlin. She has been a professor at Städelschule in Frankfurt since 2008. In recent years she has had solo shows at e.g. KW Institute for Contemporary Art, Berlin; Hammer Museum, Los Angeles; Museion, Bolzano; PRAXES Center for Contemporary Art, Berlin; and Studio Voltaire, London. She recently unveiled a large-scale outdoor sculpture project in Milan. She is represented by Deborah Schamoni, Munich; kaufmann repetto, Milan/NYC; and Metro Picture, New York. Judith Hopf is represented in the SMK collection. The x-room The x-room is SMK’s platform for contemporary art. Twice a year, the museum invites artists to create new exhibition projects especially for this space within the museum. The x-room presents works by Danish artists who have not yet presented major exhibitions in Denmark, and by international artists who have not been presented to Danish audiences before.

artist

Judith Hopf 
SMK Statens Museum for Kunst / National Gallery of Denmark, Copenhagen

THE ROYAL MUSEUM OF FINE ART, Solvgade 48-50
DK-1307 Copenhagen

Denmarkshow map
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posted 02. Jun 2018

CHALLENGING BEAUTY—Insights into Italian Contemporary Art

17. Mar 201819. Aug 2018
CHALLENGING BEAUTY—Insights into Italian Contemporary Art 17.03.2018 to 19.08.2018 CURATED BY DR. LORAND HEGYI Derived from some of the most fundamental works from the late George Wong’s collection of Italian contemporary art, CHALLENGING BEAUTY—Insights into Italian Contemporary Art offers a view of the diversity of artistic practice within the field of contemporary creation; while taking into account the geographical specificity of four emblematic art movements that took root in Italy. The trajectory of CHALLENGING BEAUTY—Insights into Italian Contemporary Art begins with the conceptual experiments and radical revisiting of avant-garde idealism in the Arte Povera movement; and is followed by the re-emergence of metaphorical images and the eclectic, painterly practices of the Transavantgarde. After which, the exhibition moves on to spotlight the more recent artistic practices of Italian contemporary art: from the aesthetics of The New Roman School, which is based on the reinterpretation of cultural metaphors and the re-exploration of the tradition of Mannerism, to the critical representation of human existentialism and the anthropological examination of the conditions of contemporary society by the younger generation artists. Despite the heterogeneity in the tendencies, personalities, and the art movements featured in the exhibition, the works from this particular collection of the late George Wong reflect his personal taste and convictions on the notions of beauty and responsibility. CHALLENGING BEAUTY—Insights into Italian Contemporary Art deepens the vision of Italian contemporary art and offers a complex and interrogative image of the visual art in Italy, seen through the eyes of a collector driven by conviction, love, knowledge and above all, his passion for art. Exhibitied Artists: Aldo Mondino, Alighiero Boetti, Bruno Ceccobelli, Carla Mattii, Enzo Cucchi, Felice Levini, Francesco Clemente, Francesco Sena, Gianni Dessi, Giuseppe Gallo, Giuseppe Penone, Guglielmo Castelli, Jannis Kounellis, Marco Tirelli, Marina Paris, Mario Merz, Mario Schifano, Michelangelo Pistoletto, Mimmo Paladino, Nicola De Maria, Nunzio (Di Stefano), Paolo Canevari, Paolo Grassino, Pierluigi Pusole, Pizzi Cannella, Roberto Barni, Salvo (Salvatore Mangione), Sandro Chia, Ugo Giletta

curator

Lorand Hegyi 
Parkview Museum, Singapore

600 North Bridge Road, Parkview Square
188778 Singapore

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posted 01. Jun 2018

Kai Richter - Structuring The Space

01. Jun 201808. Jul 2018
opening: 01. Jun 2018 19:00
Kai Richter - Structuring The Space 01.06.2018 bis 08.07.2018 Eröffnung: 01.06.2018 19:00 Der Düsseldorfer Bildhauer Kai Richter arbeitet mit sogenannten Bauhilfsmitteln, also mit Schalbrettern, den gelben Doka-Brettern, mit Gerüststangen, mit Holzbohlen, wie sie für Baustellen typisch sind. Dazu kommen Gipskartonplatten oder Beton. „Es geht… nicht um den Bau an sich, sondern vielmehr um den Prozess des Bauens. Ein feiner, aber enorm wichtiger Unterschied. Und das (Auf-)Bauen einer Gesellschaft, einer neuen Weltordnung, ist und bleibt ein Prozess, der nicht vollendet werden kann.“ (Kurator Gérard A. Goodrow in einem Text über Kai Richter). Der kleinste allgemeine Nenner für seine Arbeiten wäre, die Baustelle als Motiv zu nehmen. Kai Richter ist kein Konstruktivist, aber er steht dem Konstruktivismus nahe. Der größte Nenner wäre, dass die Skulpturen humanistisch geprägt sind nach dem Motto: Ich baue, also bin ich. Kai Richter ist kein Künstler mit einer sozialen Botschaft à la Beuys, aber er weist hin auf das Auf-, Weiter- und Umbauen der Gesellschaft, an dem die Kunst maßgeblich beteiligt ist. Eine „Stadterhebung“ der anderen Art. Kai Richter ist Bildhauer und lebt in Düsseldorf. Er wurde 1969 in München geboren und war Meisterschüler bei Hubert Kiecol. Seine „Bauskulpturen“ bestehen aus Materialien, die auf Baustellen verwendet werden, wie Gerüststangen und -kupplungen, Schalungsbretter, diverse Stützen oder Holzstangen. Eine Ausstellung, die auf ganz spezielle Weise unser Jahresthema Stadt/Architektur/Urbanität angeht. Zur Ausstellung erscheint ein 32seitiger Katalog.

artist

Kai Richter 
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posted 31. May 2018

Adrian Piper: A Synthesis of Intuitions, 1965–2016

31. Mar 201822. Jul 2018
Adrian Piper: A Synthesis of Intuitions, 1965–2016 31.03.2018 - 22.07.2018 The Museum of Modern Art In 1996 Adrian Piper wrote, “It seemed that the more clearly and abstractly I learned to think, the more clearly I was able to hear my gut telling me what I needed to do, and the more pressing it became to do it.” Since the 1960s, this uncompromising artist and philosopher has explored the potential of Conceptual art—work in which the concepts behind the art takes precedence over the physical object—to challenge our assumptions about the social structures that shape the world around us. Often drawing from her personal and professional experiences, Piper’s influential work has directly addressed gender, race, xenophobia, and, more recently, social engagement and self-transcendence. Bringing together over 290 works, including drawings, paintings, photographs, multimedia installations, videos, and performances, the exhibition offers a rare opportunity to experience her provocative and wide-ranging artwork. Occupying the Museum’s entire sixth floor and the Marron Atrium, Adrian Piper: A Synthesis of Intuitions 1965–2016 charts the artist’s five-decade career, including early paintings inspired by the use of LSD; key projects such as Mythic Being (1973), in which Piper has merged her male alter ego with entries from her teenage journals; My Calling (Card) #1 and My Calling (Card) #2 (1986), business card–sized, text-based works that confront the reader’s own racist or sexist tendencies; and What It’s Like, What It Is #3 (1991), a large-scale mixed-media installation addressing racist stereotypes, which will be shown in the Marron Atrium. The result of a four-year collaboration between the artist, The Museum of Modern Art, and The Hammer Museum, Los Angeles, this is the most comprehensive retrospective of Piper’s work to date. The exhibition is organized by Christophe Cherix, The Robert Lehman Foundation Chief Curator of Drawings and Prints, The Museum of Modern Art; David Platzker, Curator, The Department of Drawings and Prints, The Museum of Modern Art; and Connie Butler, Chief Curator, Hammer Museum, Los Angeles; with Tessa Ferreyros, Curatorial Assistant, Department of Drawings and Prints, The Museum of Modern Art.

artist

Adrian Piper 
MOMA - The Museum of Modern Art, New York °

MOMA | 11 West 53 Street
NY-10019 New York

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posted 30. May 2018

João Maria Gusmão + Pedro Paiva. Green Orange

17. May 201830. Jun 2018
opening: 17. May 2018 19:00
João Maria Gusmão + Pedro Paiva. Green Orange 17.05.2018 - 30.06.2018 Opening Thursday, 17.05.2018 19:00 - 21:00 at Sies + Höke, Düsseldorf Sies + Höke presents Green Orange, an exhibition by the artist duo João Maria Gusmão (b. 1979) and Pedro Paiva (b. 1977), their third solo presentation with the gallery. Collaborating since 2001, the artist duo João Maria Gusmão and Pedro Paiva produce films, objects, photographs, installations, and publications that inspect those islands of lost acuity in our perception that often collect in the dustbins of knowledge and linger below, behind, in-between, beyond, and parallel to the natural order of things. At once humorous, enigmatic, and absurd, their works contain numerous references to literature and philosophy, yet primarily draw attention to questions of reality and its representation. Comprised of objects, photographs, and a series of projected light installations, Green Orange accentuates the role of modeling in their practice, by demonstrating the paradoxical relations between simulations and reality, in line with Paul Valery’s dictum that “Everything simple is false. Everything which is complex is unusable.” (Notre destin et les lettres, 1937) Over the years, their registration of natural, cultural, and artificial phenomena has generated a bestiary of things where improbable preposterous properties propagate. Green Orange is one such “fungus”. It begins with a display of new bronze objects, sculptures of sorts, and photos by the artists that draw from a litany of scholarly paraphernalia, each activating a series of conflicting associations. The starting point is a model of Plato’s quintessential cave, which the philosopher deployed to discuss humans’ confinement to a misrepresentation of reality. Simplified and rendered in miniature, the object points to the proto-cinematic philosophical parable, yet the protagonists and the projections seem absent, offering a backdrop for the viewer to fill in and reconstruct the primitive scene blindfolded. Some of the other sculptures, such as a grass lawn disturbed by a tennis ball, feature absurd distortions of scale, while others present inexplicable scenarios such as a bottle punctuated by a carrot, or a sponge that is neither soaking or surging a congealed liquid. These are joined by the figure of an attentive black cat, a submarine setting, a fresh turnip made out of plastic, a moving rope that resembles a snake, a ripe pomello featuring face-like citric countenances—2 tangerines poking out as eyes, also plastic—and a “snowwoman” whose bulbous bulk recalls at once prepubescent winter play and the paleolithic figurine Venus of Willendorf. Drawn from Plato’s cave miniaturized set, a series of photographic prints, this time situated within a white backdrop, depict diorama-like set ups, akin to stage settings, or the “spectacles” of Stuart Sherman, whereby the performance artist would activate semantic dramas by moving inanimate objects on a portable tabletop. As many of these photographs include certain objects and images from the exhibition itself, the viewer is confronted with a Mise en abyme, an infinite recursion into the abyss whereby miniaturized stand-ins within the images resonate with the “real” objects outside the frames. Punctuating these exercises in composition is a smaller-sized photographic series, which feature horizontal and vertical bands of color that at once recall modernist formalist experiments and the prototypical criss-crossed patterns of Scottish fabric. Their warps and wefts were generated not by paint or thread, but by exposing a negative numerous times with filters of color until an image was constructed, yielding scintillating effects. Scattered throughout the show are also drawing-like photographs with puzzles, droodles, half riddles, and half doodles, whereby one can grasp the devious and subtle wit of the duo. A plain pooling of pictorial elements on a field yields paradoxical pictograms that prompt the production of performative prepositions, preposterous predicaments, puzzling principles, and pedestrian plights. Green Orange also signals the premiere of a new series of installations using altered medium-format slide projectors with synchronized mechanisms to generate animated forms on the screens. Like their immobile counterparts, the filtering and layering of colors and shapes catalyzes instances of pareidolia in the viewer, where simple patterns of stimuli precipitate the apprehension of familiar phenomena. These processions of forms are not merely simulations but rather maps that induce a response and a series of figurative connections through figuring both in and out, like a thought experiment. Their repeated emergence forcing double-takes, and burrowing into the mind's eye an idiotic logic for abstraction.
Sies + Höke, Düsseldorf

Poststr. 2 / Poststr. 3
40213 Dusseldorf

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