daily recommended exhibitions

posted 23. Aug 2017

Jasper Johns: ‘Something Resembling Truth’

23. Sep 201710. Dec 2017
Jasper Johns: ‘Something Resembling Truth’ 23 September — 10 December 2017 “One hopes for something resembling truth, some sense of life, even of grace, to flicker, at least in the work.” Jasper Johns, 2008. 1949. Jasper Johns arrives in New York City from South Carolina, Georgia, seeking somewhere he’ll find art, and artists. By 1955 his use of accessible and familiar motifs like flags, targets, maps and lightbulbs creates a new vocabulary in painting – forging a decisive new direction in an art world previously ruled by Abstract Expressionism. Six decades of continually evolving, technically brilliant, game-changing work later, and it’s no wonder we consider him one of the world’s greatest living artists. This ambitious show unites over 150 paintings, sculptures, drawings and prints tracing Johns’s extraordinary and long-ranging career. We look at his innovations in printmaking, and his integration of studio objects and casts of the human figure in painting. We present his works of the 1970s, dominated by an abstract pattern known as “crosshatchings”, and art illustrating his use of collage, where he incorporates details of works by artists including Pablo Picasso and Edvard Munch. We look at highly conceptual work and famous collaborations with choreographer Merce Cunningham, composer John Cage and fellow artist Robert Rauschenberg. All the way through to brand new, never-before-seen work created specifically by Johns for our Main Galleries. Throughout, returning time and again regardless of media, are his overarching concerns with themes of memory, sexuality, the familiar and the unfamiliar, and mortality. Time Out says it is an “indisputable fact: there’s no more important painter alive today than Jasper Johns”. This exhibition will follow in the Royal Academy’s tradition of celebrating our Royal Academicians, continuing the strand of programming that has showcased some of the most significant living artists including Anish Kapoor, David Hockney, Anselm Kiefer and Ai Weiwei. Working in close collaboration with the artist, the exhibition is co-curated by Dr Roberta Bernstein and Edith Devaney.

artist

Jasper Johns 
Royal Academy of Arts, London

Burlington House, Piccadilly
W1J 0BD London

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posted 22. Aug 2017

Tracey Emin and William Blake In Focus

16. Sep 201603. Sep 2017
Tracey Emin and William Blake In Focus Continuing our In Focus series, this free exhibition compares important works from the Tate collection, demonstrating a shared concern with birth, death and spirituality in both artists’ work. At the heart is one of Britain’s most renowned artworks of the past 20 years, Tracey Emin’s (b.1963) My Bed 1998. This will be the first time My Bed has been displayed in the north of England. Featuring Emin’s own bed, it offers an unflinching self-portrait in which the artist herself is absent. My Bed, along with drawings by Emin from the Tate collection, will be shown alongside those of the visionary British poet and artist, William Blake (1757–1827). Presented in the context of Emin’s empty bed, and symbolising the absent figure, highlights include Pity c.1975 and The Crucifixion: ‘Behold Thy Mother’ c.1805. Blake stood against the hypocrisies of his age championing liberalism, sexual freedoms and above all freedom of expression. This new display affirms Blake’s Romantic idea of artistic truth through existential pain and the possibility of spiritual rebirth through art, shared in the work of Tracey Emin.

artists & participants

William Blake,  Tracey Emin 
Tate Liverpool

TATE LIVERPOOL | Albert Dock Liverpool Waterfront
L3 4BB Liverpool

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posted 21. Aug 2017

Marie-Louise Ekman

17. Jun 201717. Sep 2017
Marie-Louise Ekman 17.06.2017 – 17.09.2017 Stockholm Marie-Louise Ekman has alternated effortlessly between painting, sculpture, film and drama since the late 1960s. In her works, Ekman exposes the absurdity of everyday life and undermine social constructions, and in rooms decorated with floral wallpaper, people, animals and farting geezers sit at the same table. Featuring nearly 350 works, this exhibition is the largest presentation so far of her renowned oeuvre. Liberation and comic books Marie-Louise Ekman belongs to a generation of Swedish artists who emerged in the politically turbulent 1960s. Many young artists in the 1960s were deeply influenced by popular culture, and comic books in particular. Ekman made series of silkscreen prints, stitched fishcakes out of shiny, pink silk, built enclosed worlds out of miniature objects, and borrowed the format of comic strips for her own serialised paintings. In her early works, she also appropriated images from The Phantom, Donald Duck and Ernie Bushmiller’s Nancy. Ekman’s protagonists, however, are Minnie and Daisy, together with April, May and June, rather than their male friends. At Home With a Lady Ekman’s works have a strong narrative focus. In cramped pictorial spaces with warped one-point perspectives, dreams, passions and disappointments run amok in a heightened reality. In the series At Home With a Lady from 1973, a lonely woman acts out her desires, captive in an interior, like an animal in the zoo, reliving the same reality day after day. In Striptease (1973), this blonde female figure is transformed step-by-step, via ape and man, into a bird that flies away. This is not a sexually charged act of undressing, but a way of stripping off roles and entering and exiting states of mind. In other paintings, windows and sinkholes open up to other worlds. The women’s orifices evolve into exotic landscapes with oceans lined by palm trees, and beyond the windows are other windows, where new wondrous scenes are enacted. Monuments During the early 1980s, Ekman appropriated the styles of other artists, creating works where Picasso’s women and Daisy Duck vie for space. In these paintings, Olle Baertling’s terse compositions provide the landscape for swaddled infants, wounded fledglings and dissected crocodiles on pedestals. In a large series of recent works, shown for the first time in this exhibition, Ekman instead revisits her own works from the 1970s. With her grandchildren as muses, she moves in and out of the familiar pictorial scenes. The children are here given free rein to paint over and add their own images. In other pictures, the rooms are bare, and where there used to be tables and chairs, all that remains is a play of shadows. Watch Ekman’s movies After eight feature films and numerous TV productions, Ekman definitely sees herself as an artist who makes films, rather than a film director. The exhibition features The Dramatic Asylum (2013–14), a drama series in 50 episodes, which she filmed using her mobile. With humour and painful precision, Ekman scrutinises the theatre, its power relationships and her own role as director and colleague. By contrast, Barnförbjudet (The Elephant Walk, 1979), Ekman’s first feature movie, is a sensational show with marches and musical numbers, where scales and meanings are displaced, while the kids stoically observe the affected manners of the grownups. Curator: Jo Widoff

curator

Jo Widoff 
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posted 20. Aug 2017

Otto Freundlich. Kosmischer Kommunismus

10. Jun 201710. Sep 2017
Neubau Otto Freundlich. Kosmischer Kommunismus 10.06.2017–10.09.2017 Kuratorin: Julia Friedrich Otto Freundlich (1878–1943) kannte alle und kannte alles. Kaum ein Künstler der ersten Hälfte des 20. Jahrhunderts hat sich so leidenschaftlich mit den unterschiedlichen Strömungen der Kunst auseinandergesetzt. Persönliche Bekanntschaft, oft auch Freundschaft verband ihn mit den führenden Künstlern fast aller Strömungen der Avantgarde – Expressionismus, Fauvismus, Kubismus, Orphismus, Dadaismus, De Stijl, Bauhaus und den Abstrakten. An gegenseitiger Beeinflussung hat es nicht gefehlt. Und doch verfolgte Freundlich mit seinen Gemälden und Skulpturen, mit seinen Mosaiken und Glasmalereien einen ganz eigenen Weg. Die Ausstellung Otto Freundlich – Kosmischer Kommunismus will die Arbeits- und Lebenswege Otto Freundlichs abschreiten und die Entwicklung seines künstlerischen und philosophischen Denkens nachvollziehen. Sie lenkt den Blick auf das Werk eines Künstlers, dem die Nazis den Krieg erklärt hatten: Ein beträchtlicher Teil seiner Kunst wurde von ihnen vernichtet, Freundlich zuletzt in einem Vernichtungslager umgebracht. Sein bekanntestes Werk ist bis heute die Plastik „Grosser Kopf“ (1912); sie prangte auf dem Umschlag des Ausstellungsführers zur NS-Schau „Entartete Kunst“. Die Retrospektive weist nach, dass die Nazis nicht nur den Titel des Werks fälschten (sie gaben ihm den noch heute üblichen Titel „Der neue Mensch“), sondern auch die Skulptur selbst: Auf mindestens einer Station der Wanderausstellung „Entartete Kunst“ stellten sie statt des Originals eine plumpe Nachbildung aus. So politisch aktiv und entschlossen Freundlich war, orientierte er sich nicht an den Kämpfen des Tages, sondern an utopischen Entwürfen. Leitend ist in seinem Œuvre ein alles umfassender Universalismus, den er „kosmischer Kommunismus“ nannte. Mit Freundlichs Verfolgung in Deutschland ist auch ein grosser Teil der frühen Werke verloren gegangen. Allein in der Aktion „Entartete Kunst“ wurden 14 Werke konfisziert. Das in Frankreich verbliebene Werk Freundlichs wurde von einigen Unterstützern auch nach seinem Tod bewahrt und schliesslich in eine Stiftung im Museum Pontoise bei Paris eingebracht. Die vom Museum Ludwig in Köln konzipierte und nun im Kunstmuseum Basel gezeigte Ausstellung versammelt rund 50 Werke. Die Retrospektive mit zum Teil faszinierenden neuen Forschungsergebnissen macht Freundlichs Werkentwicklung von 1909–1940 nachvollziehbar.

curator

Julia Friedrich 
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posted 19. Aug 2017

TOMAS SCHMIT - bald ist wieder schneckentreffen

01. Jul 201717. Sep 2017
Tomas Schmit - Bald ist wieder Schneckentreffen 01/07/2017 – 17/09/2017 Tomas Schmit (1943 - 2006) gehört zu den Pionieren der Fluxus-Bewegung in den frühen 1960er Jahren. Über Nam June Paik, den er 1961 traf, lernte er George Maciunas kennen und nahm an den ersten Fluxus-Aktivitäten teil. Zu seinen engen Künstlerfreunden gehörten unter anderem George Brecht, Ludwig Gosewitz, Arthur Köpcke, Dieter Roth und Gerhard Rühm. Seit Beginn seiner künstlerischen Tätigkeit beschäftigte sich Tomas Schmit mit Sprache und Text; Ende der 1960er Jahre begann er zeichnerisch zu arbeiten. In humorvoller Weise thematisiert er in seinen Zeichnungen, Editionen und Künstlerbüchern Phänomene der Wahnehmung und der Sprachlogik. Seine paradoxalen, wortspielerischen Arbeiten sieht er als Teil eines Forschungsprojektes zur Evolution der Sinne und des Denkens. Dabei geht er immer von eigenen, konkreten Beobachtungen aus und behandelt in Zeichnungsserien und Texten unerklärliche Phänomene - zum Beispiel Übung für mutige: sich farben vorstellen, die es nicht gibt (1985). Die Ausstellung wird realisiert in Kooperation mit der Kunsthalle Lingen und dem Kunstverein Bremerhaven. Kuratorin: Meike Behm, René Zechlin

artist

Tomas Schmit 

curators

Meike BehmRene Zechlin 
Wilhelm Hack-Museum, Ludwigshafen

Wilhelm-Hack-Museum & Rudolf-Scharpf-Galerie | Berliner Straße 23
67059 Ludwigshafen

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posted 18. Aug 2017

Grayson Perry: The Most Popular Art Exhibition Ever!

08. Jun 201710. Sep 2017
Grayson Perry: The Most Popular Art Exhibition Ever! 8 Jun 2017 to 10 Sep 2017 This summer Grayson Perry, one of the most astute commentators on contemporary society and culture, presents a major exhibition of new work. The works touch on many themes including popularity and art, masculinity and the current cultural landscape. Perry’s abiding interest in his audience informs his choice of universally human subjects. Working in a variety of traditional media such as ceramics, cast iron, bronze, printmaking and tapestry, Perry is best known for his ability to combine delicately crafted objects with scenes of contemporary life. His subject matter is drawn from his own childhood and life as a transvestite, as well as wider social issues ranging from class and politics to sex and religion. Taking place during the Serpentine’s popular summer season, when the parks enjoy hugely increased local and international audiences, The Most Popular Art Exhibition Ever!, tackles one of Perry’s central concerns: how contemporary art can best address a diverse cross section of society. Perry said: “I am in the communication business and I want to communicate to as wide an audience as possible. Nothing pleases me more than meeting someone at one of my exhibitions from what museum people call ‘a non-traditional background.’ The new works I am making all have ideas about popularity hovering around them. What kind of art do people like? What subjects? Why do people like going to art galleries these days? What is the relationship of traditional art to social media?” A Channel 4 documentary Grayson Perry: Divided Britain followed Perry as he created a new work for the show: his attempt to capture the thoughts of a divided country a year after the EU referendum. Harnessing social media, Perry invited the British public to contribute ideas, images and phrases to cover the surface of two enormous new pots: one for the Brexiteers and one for the Remainers. He also visited the most pro-Brexit and pro-Remain parts of the country for the programme, which is available to watch on All4. Listen to Grayson Perry talk about his work and read his own captions to some of the pieces on our mobile tour of the exhibition, accessible in the gallery through the Serpentine’s free WiFi.

artist

Grayson Perry 
Serpentine Gallery, London

Kensington Gardens
W2 3XA London

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posted 17. Aug 2017

Mark Tobey: Threading Light

06. May 201710. Sep 2017
Mark Tobey: Threading Light Curated by Debra Bricker Balken Mark Tobey: Threading Light is the first comprehensive retrospective of the American artist’s work in twenty years. The exhibition traces the evolution of the artist's groundbreaking style and his significant yet under-recognized contributions to abstraction and mid-century American modernism. With 70 paintings spanning the 1920s through 1970, Mark Tobey: Threading Light is curated by the independent curator Debra Bricker Balken and surveys the breadth of Tobey's oeuvre and reveals the extraordinarily nuanced yet radical beauty of his work. One of the foremost American artists to emerge from the 1940s, a decade that saw the rise of abstract expressionism, Mark Tobey (1890–1976) is recognized as a vanguard figure whose "white-writing" anticipated the formal innovations of New York School artists such as Jackson Pollock. When Tobey’s small paintings composed of intricate, pale webs of delicate lines were first exhibited in New York in 1944, they generated much interest for their daring "all-over" compositions. His unique calligraphic renderings largely invoke the city—its dizzying, towering architecture, thoroughfares, and pervasive whirl of electric light. As such, they are the outcome of a lyrical combination of both Eastern and Western visual histories that range from Chinese scroll painting to European cubism. This unique form of abstraction was the synthesis of the artist’s experiences living in Seattle and New York, his extensive trips to Hong Kong, Shanghai, Kyoto, and Europe, and his conversion to the Bahá'í faith. As curator Debra Bricker Balken explains, "Within this mix of sources, Tobey was able to skirt a specific debt to cubism—unlike his modernist peers—by fusing elements of like formal languages into compositions that are both astonishingly radical and beautiful." Tobey's work bridges the international dimensions of mid-century modernism, a connection that has been previously unexplored in the discourse on postwar art.

artist

Mark Tobey 
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posted 16. Aug 2017

Christian Marclay. The Clock

01. Jun 201703. Sep 2017
Christian Marclay. The Clock 01.06.2017–03.09.2017 Copenhagen Contemporary is delighted to bring Swiss-American artist and composer Christian Marclay’s The Clock (2010) to Scandinavia for the first time. This video installation is recognised as a contemporary masterpiece and won the Golden Lion at the 2011 Venice Biennale. The Clock is a 24-hour montage comprising thousands of scenes from film and television that feature everything from wristwatches to clocktowers, from buzzing alarms to the cuckoo clock – along with other references to the time. With The Clock, Marclay deconstructs and challenges the narratives of individual scenes by removing them from their original context and inserting them into another, where time itself becomes the protagonist. Synchronised with the local time of the exhibition space, the work conflates cinematic and actual time, revealing each passing minute as a repository of alternately suspenseful, tragic or romantic narrative possibilities. At the same time, our natural, established perception of time is tested and challenged by the work’s many different narratives, which have no beginning or end. During the show CC looks forward to presenting six special 24-hour screenings of The Clock, where audiences can experience the work in its entirety, covering the full span of a day and night. Overnight screenings 04. June 24. June 22. July 12. August 25. August 01. September The Clock first premiered in London in 2010 and has since been exhibited worldwide in more than twenty venues, including the Centre Pompidou, Paris (2011); Museum of Modern Art, New York (2012); San Francisco Museum of Modern Art (2013); and Guggenheim Bilbao (2014). About Christian Marclay For more than thirty years, Christian Marclay has been exploring the connections between the visual and the audible, creating works in a wide range of media, including sculpture, video, photography, collage, music, and performance. A pioneering DJ using records and turntables as musical instruments to create sound collages, since 1979 Marclay has performed and recorded both solo and in collaboration with many musicians, including John Zorn, Elliott Sharp, Otomo Yoshihide, Butch Morris, Shelley Hirsch, Okkyung Lee, Mats Gustafsson, and Lee Ranaldo. Marclay’s work has been shown in museums and galleries worldwide. International solo exhibitions include the Staatsgalerie in Stuttgart (2015); Musée d’art moderne et contemporain in Geneva (2008); Hammer Museum at UCLA, Los Angeles (2003); San Francisco Museum of Modern Art (2002); Museum of Contemporary Art, Chicago (2001); Kunsthaus Zürich (1997); Musée d’art et d’histoire, Geneva (1995); and the Hirshhorn Museum and Sculpture Garden, Washington D.C. (1990).
Copenhagen Contemporary CC °

COPENHAGEN CONTEMPORARY (CC) | Trangravsvej 10-14
1436 Copenhagen

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posted 15. Aug 2017

Medusa. Bijoux et tabous

19. May 201705. Nov 2017
Medusa Bijoux et tabous From 19 May to 05 November 2017 The Musée d’Art moderne de la Ville de Paris presents MEDUSA, an exhibition taking a contemporary and unprecedented look at jewellery, unveiling a number of taboos. Just like the face of Medusa in Greek mythology, a piece of jewellery attracts and troubles the person who designs it, looks at it or wears it. While it is one of the most ancient and universal forms of human expression, jewellery has an ambiguous status, mid-way between fashion and sculpture, and is rarely considered to be a work of art. Indeed, it is often perceived as too close to the body, too feminine, precious, ornamental or primitive. But it is thanks to avant-garde artists and contemporary designers that it has been reinvented, transformed and detached from its own traditions. In the wake of the museum’s series of joint and cross-disciplinary exhibitions, such as “L’Hiver de l’Amour”, “Playback” and “Decorum”, MEDUSA questions the traditional art boundaries by reconsidering, with the complicity of artists, the questions of craftsmanship, decoration, fashion and pop culture. The exhibition brings together over 400 pieces of jewellery: created by artists (Anni Albers, Man Ray, Meret Oppenheim, Alexander Calder, Salvador Dali, Louise Bourgeois, Lucio Fontana, Niki de Saint Phalle, Fabrice Gygi, Thomas Hirschhorn, Danny McDonald, Sylvie Auvray…), avant-garde jewellery makers and designers (René Lalique, Suzanne Belperron, Line Vautrin, Art Smith, Tony Duquette, Bless, Nervous System…), contemporary jewellery makers (Gijs Bakker, Otto Künzli, Karl Fritsch, Dorothea Prühl, Seulgi Kwon, Sophie Hanagarth…) and also high end jewelers (Cartier, Van Cleef & Arpels, Victoire de Castellane, Buccellati…), as well as anonymous, more ancient or non-Western pieces (including prehistorical and medieval works, punk and rappers’ jewellery as well as costume jewellery etc .). These pieces, well-known, little-known, unique, familiar, handmade, massproduced, or computer made, mix some refined, hand-wrought, amateur and even futuristic aesthetics which are rarely associated together. They sometimes go far beyond simple jewellery and explore other means of engaging with, and putting on, jewellery. The exhibition is organized around four themes with a specific display for each: Identity, Value, Body and Instruments. Each section starts from the often negative preconceptions surrounding jewellery in order to better deconstruct them, and finally reveal jewellery’s underlying subversive and performative potential. Fifteen works and installations by contemporary artists (Mike Kelley, Leonor Antunes, Jean-Marie Appriou, Atelier EB, Liz Craft…) dot the exhibition, echoing the themes of its various sections. The works presented question related issues of decoration and ornament, and anchor our connection to jewellery within a broadened relationship to the body and the world. Curator: Anne Dressen In collaboration with Michèle Heuzé and Benjamin Lignel, scientific advisors

curator

Anne Dressen 
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posted 14. Aug 2017

Les Rencontres d´Arles 2017

03. Jul 201717. Sep 2017
Les Rencontres d´Arles 2017 03.07.2017-17.09.2017 New Space SAM STOURDZÉ DIRECTOR OF THE RENCONTRES D'ARLES "The more we think a country closed, stuck in political and economic crises, the more we find photographers there. They reveal, describe, demonstrate, invent, repair, build, in their own language, that of the image. They decipher the preliminary signs of societies in upheaval. The 48th issue of the Rencontres de la Photographie shares this taste for other places. All across the city of Arles—a city of living legacy which, in the space of a summer, transforms into a wonderful place of welcome for our exhibitions—a trajectory emerges that will lead you from Latin America to Iran, from the shores of the Bosphorus to the Syrian border, from Château Davignon to the trailers of Arles. You’ll go on a snorkeling tour of flooded lands; you’ll go by train across the vast Russian landscape; you’ll pick up the pieces of Lenin in Ukraine; you’ll reflect on Monsanto; you’ll follow the life of a Romani family for twenty years… From the local to the global, this 48th issue will take you to the heart of Colombia, immerse you in a new Spanish generation, introduce you to the sideways glance in Iranian photography—all in a sweeping journey to the heart of busy and complex geopolitics. SEE THE WORLD As a matter of fact, the world is moving. Nothing new in this, but it’s moving ever faster. Nowadays images circulate at the speed of light. Technological liberation, once lauded as the acquisition of direct expression, the spearhead of an ever more participative democracy, reveals another face, another use. It puts itself at the service of populist conquests. Have we entered into the age of the war of images, in which each person chooses to make themselves, alternately, the one who disseminates or the one who collects truth or fallacy? More than ever, we need artists and their ability to capture the apt time. Artists participate in decrypting, in contextualizing, in making new forms of writing emerge; and the festival amplifies their voices, transcribes their simple, efficient, and ambitious program: to see the world as it is, as it could be, as it ought to be. THANKS TO YOU! Patrons of the Rencontres have made no mistake. In 2016, you were more numerous than ever before. In fifteen years, attendance at the Rencontres d’Arles increased dramatically, testifying to the growing public interest in photography. The event now occurs as an annual fixture, a freeze frame, an x-ray of artistic creation, as the Rencontres are on the scene for every development in the field of photography, and sometimes at its initiative. Thus, the 48th issue holds a few surprises. The artist Jean Dubuffet appropriates and diverts photographic convention, using its reproducibility to replicate painting and drawing. Roger Ballen works on site for the exhibition itself, offering the visitor an immersive, ballenesque experience. Virtual reality (VR) promises to be the next revolution in technology. It is a new model for creation, one which is challenging representation and rewriting established codes. It is inspiring artists and producing new forms. The festival supports these major developments related to the image, setting up a new stage for them with the VR Arles Festival, accessible all summer at the Couvent Saint-Césaire. Here, visitors can experience the two dozen films selected for the official competition. ALL OF PHOTOGRAPHY Ultimately, we are a photography festival at the service of photographers. Yet, art is an ecosystem with a large number of actors involved, from creation to production to distribution. We support this ecosystem, issue after issue, as a place of welcome, of expression and promotion. Because of its visibility, the festival is a unique platform for the photography community, a common good at the service of all its players: photographers, of course, but also curators, researchers, publishers, collectors, and this year, gallery owners. At Arles, curators find a ground for experimentation that matches their ambitions. In 2017, more than XXXX curators are offering their interpretation of photography. Publishers are now supported largely by the Dummy Book Award and the Book award, while Cosmos-Arles Books brings together around 80 specialized publishers during the festival’s opening week. The 48th issue continues its interest in art collectors. From the excellent Latin-American collection of Laetitia and Stanislas Poniatowski, to the strange vernacular collection of Claude Ribouillault, devoted to dwarfs, giants and strongmen, collectors are celebrated for the free spirit by which they bring to light neglected areas in the history of photography. And finally, we officially welcome the key players on the art scene with the presentation of the New Discovery Award. Gallery owners, in their pioneering role, are often the first to spot, support, and encourage future talent. They are here invited to nominate an artist of less than 45 years old, whose work they esteem to merit promotion with an international audience. Thus, ten photographers have been selected from among 200 candidates; their work will be presented this summer. It is then up to the professionals to decide, from among these candidates, the winner of the New Discovery award during the opening week. Clearly, all the players in photography enrich our program, and increase, by a little each year, the significance of the Rencontres d’Arles. A SPIRIT, NOT A PLACE This year, we are opening up new spaces, literally as well as figuratively. In 2017, the spirit of the Rencontres will breathe on two new sites. Both are found at the border of the historical center on Boulevard Émile Combes. The sites were built from derelict houses, old shops, warehouses, and urban land. Open to the public for the first time, they’ve been reconfigured as exhibition sites and walkways for the occasion. They add to the Rencontres d’Arles’ reputation as innovator of the city. But one space can hide another! More than square meters, these are new spaces of photography which, above all, tirelessly mobilize our energy: creative spaces, political spaces, spaces of protest and rebellion, spaces for reflection, and most of all, spaces consecrated to the critical eye and free thinking. Let’s make it clear—before it is a place, the Rencontres d’Arles are a space of liberty! "
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posted 13. Aug 2017

HIER UND JETZT: Reena Spaulings. HER AND NO

03. Jun 201727. Aug 2017
opening: 02. Jun 2017 19:00
HIER UND JETZT Reena Spaulings. HER AND NO 3. Juni – 27. August 2017 Eröff­nung: Fre­i­tag, 2. Ju­ni 2017, 19h Wer – oder was – ist Ree­na Spaul­ings? Der Name ste­ht seit 2004 für ver­schie­dene kollek­tiv-kün­st­lerische Ak­tiv­itäten: Zunächst betitelte Ree­na Spaul­ings ein Ro­man­pro­jekt, an dem eine unbes­timmte An­zahl anonymer Au­torin­nen und Au­toren aus dem Um­feld des Kün­stlerkollek­tivs Ber­nadette Cor­po­ra­tion mitwirkte. Fast zeit­gleich ent­s­tand eine kom­merzielle Ga­lerie mit Ausstel­lungs­räu­men in New York, die sei­ther Kün­st­lerin­nen und Kün­stler wie Mer­lin Car­pen­ter, Jut­ta Koether, Claire Fon­taine und Klara Lidén repräsen­tiert. Eben­falls in 2004 for­mierte sich ein Kün­stlerkollek­tiv, das seit­dem un­ter dem Na­men der fik­tiv­en Kün­st­lerin Ree­na Spaul­ings operi­ert und un­ter die­sem eine sys­tem­re­flexive sowie selb­stironische, kollek­tive Malerei be­treibt. Für Ree­na Spaul­ings stellt die Ausstel­lung HER AND NO die er­ste in­sti­tu­tionelle Zusam­me­nar­beit mit einem Mu­se­um dar. Die Präsen­ta­tion fokussiert die kün­st­lerische Ar­beit des Kollek­tivs. Sie um­fasst eine ei­gens für die Ausstel­lung ent­s­tan­dene In­s­tal­la­tion aus neuen, neuaufgelegten und bere­its beste­hen­den Ar­beit­en, die sich im weitesten Sinn mit dem Stel­len­w­ert des Kün­stlers in der Ge­sellschaft be­fasst und zu­gleich mit dem For­mat der in­sti­tu­tionellen Werkschau in einem Mu­se­um spielt. Im Zen­trum der Ausstel­lung ste­hen drei groß­for­matige sowie frei im Raum ste­hende Bildträger aus Alu­mini­um. Das ge­malte Su­jet hi­er­auf adap­tiert Gus­tave Cour­bets berühmtes Bild Die Begeg­nung (Bon­jour, Mon­sieur Cour­bet), in dem der Maler auf Wan­der­schaft fernab der städtischen Kul­turszene auf sei­nen Samm­ler Al­fred Bruyas trifft. Ree­na Spaul­ings über­führt die Szene, in der sich Cour­bet 1854 als selbst­bewusster Na­tur­bursche in­sze­niert, in die heutige Ge­gen­wart. Dabei analysiert sie nicht ohne Ironie das Be­wusst­sein des Kün­stlers für seine Rolle früher wie heute und deutet gleichzeitig auf das fein­maschige Ab­hängigkeits­ge­füge in­n­er­halb der Kunst­welt hin. In die­sem Sinne the­ma­tisiert auch die 14-teilige Porträt­serie Ad­vi­sors, die renom­mierte Kun­st­ber­a­terin­nen und –be­r­ater porträtiert, deren zuneh­mende Be­deu­tung auf dem Kun­st­markt. Zwar ste­hen Kün­st­lerin­nen und Kün­stler seit der Mod­erne nicht länger in einem Auf­tragsver­hält­nis zum Mäzen – für diese Art von Bezie­hung kann die Gat­tung des Porträts heute als Sinn­bild ver­s­tan­den wer­den –, doch wirken nach wie vor deut­lich spür­bare Markt- und Macht­mech­anis­men auf sie ein, die in der schein­bar autono­men Entschei­dung die Ad­vi­sors-Se­rie zu malen sicht­bar wer­den. Zu­dem sind in der Ausstel­lung Wied­er­auf­nah­men der wichtig­sten Werk­grup­pen Ree­na Spaul­ings zu se­hen. Die Mal­tech­nik er­streckt sich über poin­tilis­tische New York- und Köl­n­darstel­lun­gen, in An­leh­nung an Os­kar Kokoschkas An­sicht der Stadt Köln vom Mes­se­turm aus (1956) bis hin zu von Putzrobotern er­stell­ten Gemäl­den, die er­s­taun­licher­weise eine Kraft und Far­bigkeit ent­fal­ten, die den Be­trachter auf den er­sten Blick an die Seestücke Wil­li­am Turn­ers denken lassen. Bei bei­den Werk­grup­pen ste­ht die Er­probung ein­er kollek­tiv­en Mal­praxis im Vorder­grund, die sich über die Idee ein­er in­di­vi­du­ellen Au­torschaft und kün­st­lerischen Hand­schrift hin­wegset­zt. Über die Rei­he HI­ER UND JET­ZT im Mu­se­um Lud­wig REE­NA SPAUL­INGS. HER AND NO ist die dritte Ausstel­lung in­n­er­halb der Pro­jek­trei­he HI­ER UND JET­ZT im Mu­se­um Lud­wig und wird ku­ratiert von An­na Cz­er­l­itz­ki. Hier­bei han­delt es sich um ein ex­per­i­men­telles For­mat, bei dem die Kon­ven­tio­nen museal­er Kun­st­präsen­ta­tion kri­tisch beleuchtet und die Vorge­hen­sweisen der ei­ge­nen in­sti­tu­tionellen Ar­beit hin­ter­fragt wer­den. Die Ausstel­lung wird un­ter­stützt von der Förder­gruppe HI­ER UND JET­ZT aus dem Kreis der Mit­glied­er der Ge­sellschaft für Mod­erne Kunst am Mu­se­um Lud­wig e. V. sowie der Stif­tung Storch. Zur Ausstel­lung er­scheint ein Ka­t­a­log. Ku­ra­torin: An­na Cz­er­l­itz­ki
Museum Ludwig Köln

Bischofsgartenstr. 1
50667 Cologne

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posted 12. Aug 2017

Alexandra Pirici. Aggregate.

12. Aug 201717. Aug 2017
opening: 11. Aug 2017 18:00
Alexandra Pirici. Aggregate. 12. August – 17. August 2017 Eröffnung: Freitag, 11. August, 18 Uhr Kuratorin: Raluca Voinea Die erste Einzelausstellung von Alexandra Pirici in Deutschland ist als lebendiges Environment angelegt: Die Ausstellung Aggregate bildet den Rahmen für über 80 PerformerInnen, die zusammen mit den BesucherInnen eine Schwarmbewegung im Raum erzeugen. In ihr nehmen Erinnerungen Gestalt an, die Fragmente eines gemeinsamen Welterbes verhandeln. Pirici nimmt dabei Bezug auf Versuche der Menschheit, wesentliche Aspekte ihres Daseins in Zeitkapseln festzuhalten, wie etwa in Form der „Voyager Golden Records“ der NASA, die ausgewählte Informationen zum Leben auf der Erde anderen, außerirdischen Spezies zur Verfügung stellen sollten. Pirici thematisiert eine solche „Arche“ als Prozess, in dem Informationen subjektiv selektiert und transformiert werden, welche sich in Kategorien einfügen wie Lebensformen, Sound von der Erde, kulturelle Errungenschaften, wissenschaftliche Techniken und Erkenntnisse, aber auch unbelebte Objekte und Nicht-Klassifizierbares. In einem ständigen Strom der Körper, der die BesucherInnen der Ausstellungen umfasst, entstehen und verschwinden durch Inszenierung ausgewählte, geteilte Erinnerungen aus verschiedenen Kanons und historischen Zeitabschnitten. Dabei adaptiert, vervielfältigt und verstärkt das lebende Environment individuelle und kollektive Vorschläge nach einem Prinzip ähnlich dem der Online-Dynamik und Memetik. Aggregate lädt dazu ein, zu erleben, wie wir unsere Identität im Kollektiv definieren und welche Rolle dabei die selektive Rückbesinnung auf Erinnerungen, die wir für unser Selbst in Gegenwart und Zukunft bewahren möchten, spielt. In der Auseinandersetzung mit Piricis Projekt wird auch die übliche Distanz zwischen Kunstwerk und BetrachterIn dekonstruiert, der Kunstraum wird hinterfragt und gemeinsam definiert. Die Bewegung zum Kunstwerk hin wird Teil des Werks selbst, das Werk geht aus der Bewegung hervor. Alexandra Pirici (*1982 in Bukarest) lebt und arbeitet in Bukarest. Zuletzt waren ihre Projekte u. a. zu sehen: Berlin Biennale (2016), Tate Modern, London, und Tate Liverpool (2016); Off-Biennale Budapest (2015); Manifesta 10, St. Petersburg (2014); Centre Pompidou, Paris (2014); Van Abbemuseum, Eindhoven (2014); Museum of Modern Art, Warschau (2014); Kunsthalle Fridericianum, Kassel (2014); Venedig Biennale (2013). 2015 erhielt sie den Excellence Award des National Dance Center, Bukarest. In 2017 ist Alexandra Pirici u. a. Teilnehmerin der Skulptur Projekte Münster. Samstag – Mittwoch 14–18 Uhr / Donnerstag 18–20 Uhr Montag geschlossen

curator

Raluca Voinea 
nbk Neuer Berliner Kunstverein

nbk & Artothek | Chausseestr. 128/129
10115 Berlin

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posted 11. Aug 2017

FRANZ GRABMAYR. FEUERBILDER – TANZBLÄTTER – MATERIALBILDER

11. Mar 201724. Sep 2017
Die Ausstellung »Franz Grabmayr: Feuerbilder – Tanzblätter – Materialbilder« präsentiert anlässlich des 90. Geburtstages des Künstlers (1927 – 2015) 60 Hauptwerke aus dem Nachlass und aus einer Privatsammlung, die dem Werk von Franz Grabmayr gewidmet ist. Von den ersten grünen Landschaftsbildern zu den wilden Feuerbildern, für die der Maler das Motiv auf dem Traktor umfuhr, von der Abbildung der Natur zur Auseinandersetzung mit ihren Energien und dem bewegten menschlichen Körper erläutert diese erste posthume Retrospektive den Weg vom Tafelbild zum dreidimensionalen Materialbild, mit dem Franz Grabmayr internationale Bedeutung erlangte und zu einem geradezu kulthaft verehrten Geheimtipp unter österreichischen und deutschen Malern avancierte. Die von Robert Fleck und Caro Wiesauer kuratierte Ausstellung begleitet diesen Weg durch ein halbes Jahrhundert intensiver Malerei mit einzigartigen Fotodokumenten und einer Rekonstruktion von Grabmayrs »Atelier in der Landschaft«. Zur Ausstellung erscheint ein Katalog im Snoeck Verlag, Köln.
Museum Angerlehner, Wels

Ascheter Straße 54, Thalheim
4600 Wels

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posted 10. Aug 2017

Sol Calero. Agencia Viajes Paraíso

06. May 201724. Sep 2017
opening: 05. May 2017
Sol Calero (*1982 in Caracas, Venezuela) nimmt jeden Ausstellungsraum ganz und gar in Beschlag. In ihren Environments – großen, ebenso konzeptuell tiefen wie sinnlich berauschenden Gesamtkunstwerken – vereint sie Installation und Malerei, Videokunst und Skulptur und schlägt damit stets auch eine Brücke zum „Draußen“, dem Leben außerhalb des Museums. Den Kunstraum in einen sozial funktionierenden, kommunikativen Ort zu verwandeln, in dem unterschiedliche Sphären zusammentreffen, ist das Prinzip ihrer Arbeit. Dafür richtete sie bereits Friseursalons, Tanzschulen, Internetcafés, Saunen und Wechselstuben in Galerien und Museen rund um den Globus ein. Auf Weltreise können sich nun auch die Besucher des Kunstpalais begeben, denn für ihre Solo-Show in Erlangen holt Calero ein Reisebüro in die Ausstellungsräume – ganz in ihrer charakteristischen, farbenfrohen und musterreichen Ästhetik. Von den Mitarbeiterinnen des Reisezentrums Dr. Krugmann kann man sich beraten lassen und Flüge in die ganze Welt buchen. Caleros umfassende Gestaltung zieht sich hindurch bis zum Ausstellungsplakat, das ein exotisches Paradies für Pauschalurlauber anzupreisen scheint. Indem Calero das Reisebüro als Ort thematisiert, wirft sie Fragen zur Idee von Tourismus auf. Es ist ein inhärent westliches Konzept, als Teil der eigenen Selbstverwirklichung zu fernen Kontinenten zu reisen. Die besuchten Länder werden zur Fremde, die dort lebenden Menschen zu „den Anderen“. Der eurozentrische Blick führt zu einem Exotismus, in dem von unvertrauten Kulturen meist nur Klischees übrig bleiben. Für Sol Calero, die nach ihrer Kindheit in Venezuela und ihrem Studium in Spanien und England vor einigen Jahren nach Berlin kam, ist die Beschäftigung mit Migration und Geschichte ein essentieller Teil ihrer Arbeit. Sehr spielerisch und mit großer, durchaus augenzwinkernder Liebe zur karibischen Farbigkeit und Musterbegeisterung bringt Calero den Betrachter mit ihren Gemälden, Skulpturen und Installationen fast beiläufig zum Nachdenken über Zuschreibungen, Vorurteile, über Geschlechterrollen und Kultur. Wie sie selbst sagt, ist sie „politisch, ohne explizit politisch zu sein“. Die Ausstellung integriert zudem Videoarbeiten der KünstlerInnen Joiri Minaya, Cristóbal Gracia und Josep Maynou.

artist

Sol Calero 

curator

Amely Deiss 
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posted 09. Aug 2017

Robert Rauschenberg: Among Friends

21. May 201717. Sep 2017
In 1959, Robert Rauschenberg wrote, “Painting relates to both art and life. Neither can be made. (I try to act in that gap between the two.)” His work in this gap shaped artistic practice for decades to come. The early 1950s, when Rauschenberg (1925–2008) launched his career, was the heyday of the heroic gestural painting of Abstract Expressionism. Rauschenberg challenged this tradition with an egalitarian approach to materials, bringing the stuff of the everyday world into his art. Working alone and in collaboration with artists, dancers, musicians, and writers, he invented new, interdisciplinary modes of artistic practice that helped set the course for art of the present day. The ethos that permeates Rauschenberg’s work—openness, commitment to dialogue and collaboration, and global curiosity—makes him, now more than ever, a touchstone for our troubled times. Robert Rauschenberg: Among Friends, the first 21st-century retrospective of the artist, presents work from six decades of his widely celebrated career in fresh ways, bringing together over 250 paintings, sculptures, drawings, prints, photographs, and sound and video recordings. Acclaimed artist and filmmaker Charles Atlas is collaborating on the exhibition’s design to foreground Rauschenberg’s work with dance and performance. MoMA’s presentation is structured as an “open monograph”—as other artists came into Rauschenberg’s creative life, they come into the exhibition, mapping the exchange of ideas. These figures include John Cage, Merce Cunningham, Sari Dienes, Jasper Johns, Billy Klüver, Yvonne Rainer, Paul Taylor, David Tudor, Cy Twombly, Susan Weil, and many others. The exhibition is organized by The Museum of Modern Art, New York, and Tate Modern, London. Organized by Leah Dickerman, The Marlene Hess Curator of Painting and Sculpture, The Museum of Modern Art, and Achim Borchardt-Hume, Director of Exhibitions at Tate Modern, with Emily Liebert and Jenny Harris, Curatorial Assistants, Department of Painting and Sculpture, The Museum of Modern Art. The exhibition design was created in collaboration with the artist Charles Atlas.
MOMA - The Museum of Modern Art, New York °

MOMA | 11 West 53 Street
NY-10019 New York

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posted 08. Aug 2017

Amie Siegel - Interiors

20. May 201703. Sep 2017
The Frye Art Museum is pleased to present Amie Siegel: Interiors, an exhibition in which the artist considers objects and their perceived value, investigating undercurrents of power and desire active within connoisseurship and image-making. Through the complex, meticulously constructed works that are her signature, Siegel explores how hierarchies of ownership, display, and the production of images—constructs of the human mind as well as the museum—influence cultural and aesthetic worth. The Modernists (2010) cross cuts a private archive of a couple’s travel photographs and super-8 films from the 1960s–1980s, the wife continually posing for her husband’s camera before public sculpture the world over. Re-focused and reassembled, the montage of images examines the domestic camera's gendered relationship to sculpture, fashion, and public performance. A slow reveal over multiple parts, Provenance (2013) peels back layers of cultural patrimony, rendering the global trade in modernist furniture from architect Le Corbusier's controversial city of Chandigarh, India. The film traces, in reverse, the furniture’s trajectory from wealthy collectors' homes to auctions, restoration, and shipping, back to the furniture's origins in India. Proof (Christie's 19 October, 2013) and the video Lot 248 (2013) portray the sale of Provenance at a Christie's London auction, revealing the work itself as part of the speculative circuit of art and capital it depicts. Fetish (2016), filmed at London's Freud Museum, depicts the annual nocturnal cleaning of the psychoanalyst's collection of archeological artifacts, creating parallels between the careful, almost ritualistic removal of dust from the objects and the intimate excavations and disclosures of analysis, both normally hidden from view. The slide projection Surrogates(2016) offers another kind of intense gaze, sequencing photographs of rupture or repair on the bodies of classical female sculpture in the Naples Archaeological Museum. Fetishization is also an undercurrent in Siegel's treatment of architectural spaces themselves, whether original or remake, artifact or copy. In Double Negative (2015) two black and white 16mm films simultaneously project a sequence of shots of Le Corbusier's iconic white Villa Savoye outside Paris and its doppelgänger, a black copy of the building in Canberra, Australia. Printed on 16mm as a negative image, or “polarity print,” each film reverses dark and light. An HD color video reveals the black Villa Savoye to be an Australian ethnographic institute at work digitizing its collection of anthropological films, photographs, sound recordings, and object artifacts. The architectural clone is itself a space dedicated to copying. In these multilayered representations of objects operating within mannered, man-made spaces, Siegel maps out the interior mechanisms—visible or invisible, authentic or fictional—that define social and cultural value. Amie Siegel: Interiors is curated by Kathleen Forde. The Frye Art Museum will collaborate with the Portland Art Museum on a catalogue coinciding with a forthcoming solo exhibition that will premiere Siegel's new work, Heavy Metal, at PAM in 2018. Amie Siegel (b. 1974, Chicago, USA) works between film, photography, performance and installation. Recent solo exhibitions include the South London Gallery; the Metropolitan Museum of Art, New York; Museum Villa Stuck, Munich; Kunstmuseum Stuttgart and the MAK, Vienna. Siegel has participated in group exhibitions at Witte de With, Rotterdam; the Whitney Museum of American Art, NY; Hayward Gallery, London; KW Institute for Contemporary Art, Berlin; CCA Wattis, San Francisco; MoMA PS1; MAXXI Museum, Rome; Haus der Kulturen der Welt, Berlin; and the Walker Art Center, Minneapolis. Her work is in public collections including the Whitney Museum of American Art, The Metropolitan Museum of Art, Tate Modern, and the Solomon R. Guggenheim Museum. Her films have been screened at the Cannes, Berlin, Toronto and New York Film Festivals, The Museum of Modern Art, New York, and The National Gallery of Art, Washington, D.C. She has been a fellow of the DAAD Berliner-Künstlerprogramm and the Guggenheim Foundation, the Fulton Fellow at The Film Study Center at Harvard University, a recipient of the ICA Boston's Foster Prize, Sundance Institute and Creative Capital Awards.

artist

Amie Siegel 
Frye Art Museum, Seattle °

704 Terry Avenue
Seattle

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posted 07. Aug 2017

Megan Marrin. Corps

28. Jun 201720. Aug 2017
Megan Marrin. Corps 28 Jun 2017 - 20 Aug 2017

artist

Megan Marrin 
David Lewis, New York

88 Eldridge Street
NY 10002 New York

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posted 06. Aug 2017

Tschabalala Self

03. Jun 201720. Aug 2017
opening: 02. Jun 2017 19:00
Tschabalala Self 03.06.2017-20.08.2017 Exhibition Preview, Friday 2 June - 7-9pm Tramway presents a solo exhibition by American artist Tschabalala Self which draws together works drawn from the first five years of her artistic career. Primarily concerned with the concept of the Black female body within contemporary culture, Self examines the confluence of race, gender and sexuality through a variety of forms and narratives in which each subject – or as she prefers, character – expresses an individually powerful identity. In her bold, confident and vibrant paintings and works on paper, Self plays inventively with figuration, deconstructing and recreating the body, using various techniques, including collage. Pieces of collected fabric – sometimes African or African-inspired cloth given to her by her mother – and paper or perhaps sections of an earlier unresolved work, are sewn directly onto a work. Working in this way with mixed-media allows Self to blend fact with fiction, reality with imagination as she explores how the Black female body functions as a social and political symbol. The Tschabalala Self exhibition was organised by Parasol unit foundation for contemporary art, London
Tramway Glasgow °

25 Albert Drive
G41 2PE Glasgow

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posted 05. Aug 2017

Klöntal Triennale 2017 "Part of a Moment"

28. May 201724. Sep 2017
opening: 27. May 2017 13:30
Klöntal Triennale 2017 "Part of a Moment" 28. Mai bis 24. September 2017 Im Kunsthaus Glarus bis 30. Juli 2017 Cristian Andersen, Rita McBride, Florian Germann, San Keller, Nik Kosmas, Maya Minder, George Steinmann Blind Date: Performatives Veranstaltungsprogramm mit weiteren KünstlerInnen und AkteurInnen innerhalb Rita McBrides Arena Seatings Eröffnung am SAMSTAG 27. Mai 2017, 13.30 Uhr Treffpunkt Kunsthaus Glarus, Busfahrt ins Klöntal (Platzzahl limitiert, Voranmeldung erwünscht unter info@kloentaltriennale.ch), Besichtigung der Projekte im Camping Vorauen (ab 14h) und im Gasthaus Richisau (ab 15:30h). Ab 18 Uhr gemeinsame Eröffnung mit der Einzelausstellung Birgit Megerle im Kunsthaus Glarus. Anschliessendes Abendessen mit Maya Minders Gasthaus, Fermentation and Bacteria, koreanisches BBQ, Kimchi und Reis. Vom 28. Mai bis 24. September 2017 findet die zweite Klöntal Triennale statt. Sieben KünstlerInnen und unzählige Blind Dates entwickeln ihre Konzepte ortsspezifisch und im Austausch mit dem Publikum im Klöntal bei Glarus und im Kunsthaus. Unter dem Motto „Part of a Moment“ blitzen künstlerische Momente temporär auf und verschwinden ebenso schnell wieder. Dreh- und Angelpunkt sind drei Skulpturen von Rita McBride als Tribüne für Performances und Aktionen. Während der Triennale ermöglicht das Klöntal Radio die Teilnahme auch aus geografischer und zeitlicher Distanz. Die Ausstellung entsteht im Austausch des Vereins Klöntal Triennale mit dem Kunsthaus Glarus und zwei Hochschulen. Künstlerische Leiterinnen sind Alexandra Blättler und Sabine Rusterholz Petko. Wir freuen uns sehr auf ein Wiedersehen im Klöntal!
Klöntal Triennale, Glarus

Kunsthaus Glarus, Im Volksgarten
CH-8750 Glarus

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posted 04. Aug 2017

Transhumance

25. Jun 201705. Nov 2017
Transhumance Works from the Centre National des Arts Plastiques: an Exhibition/Trail in and around Vassivière, France June 25–November 5, 2017 Throughout the summer the Centre international d'art et du paysage of Vassivière Island (CIAP) and the Centre national des arts plastiques (National Centre for Visual Arts, Cnap) will be presenting an exhibition/trail extending outwards from the art centre and its Sculpture Wood to neighbouring municipalities. Titled Transhumance, this venture into unification of a changing territory offers strollers the chance to soak up the history of the various villages while highlighting the role of public art in the rural context. Made up entirely of works from the Cnap collection, with special emphasis on outdoor pieces, Transhumance is divided into four sections: A trail linking rural municipalities near Lake Vassivière, including Beaumont-du-Lac, Gentioux-Pigerolles, La Villedieu, Nedde, Peyrat-le-Château and Saint-Amand-le-Petit, between the Creuse and Haute-Vienne départements in the Nouvelle Aquitaine Region. In a public-space dialogue with the scenic, architectural and cultural heritage of these villages, the exhibits interact with their setting, altering our point of view in a way that inevitably transforms each place's space, history and identity. In addition, in a rural area too rarely exposed to contemporary creative input, they also act as cultural mediators, spotlighting nationally and internationally known artists and presenting new aesthetic concepts and artforms that reflect the diversity of the Cnap collection: monumental sculptures, sound and video installations, procedural art, vegetal works and more. Organised in conjunction with the municipal councils, the venture involves some residents in its design, implementation and mediation. Generating interchange between artists, the authorities and citizens, the works thus become a vector for social and political bonding. Works by Hicham Berrada, Olivier Cadiot, Michael Dans, Édith Dekyndt, Mona Hatoum, Jean-Michel Othoniel, Anne de Sterk and Lois Weinberger A group exhibition at the art centre on Vassivière Island further reflects the public role of art in today's society. How does art mobilise us as citizens actively committed to the world we live in? This exhibition foregrounds the political, participatory aspect of the work of art and the different ways it can interact with the visitor. This is also an opportunity to rediscover an emblematic late 1980s work by Dominique Gonzalez-Foerster, Bernard Joisten, Pierre Joseph and Philippe Parreno: the outdoor installation Vidéo Ozone, which is being specially reactivated on the island for the 34th edition of European Heritage Days on September. Works by Siah Armajani, Maja Bajevic, Patrick Bernier & Olive Martin, Simon Boudvin, Luis Camnitzer, Gilles Clément, Pierre Coulibeuf, Yona Friedman, Dora Garcia, Felix Gonzalez-Torres, Marie-Ange Guilleminot, Martin Le Chevallier, Enzo Mari, Roman Ondak, Dominique Petitgand, Roman Signer, Georges Tony Stoll and Lois Weinberger Still on Vassivière Island, two new procedural art pieces commissioned by the Cnap are being premiered in the Sculpture Wood, already home to some 60 works (five of them on long-term loan from the Cnap). Liliana Motta's beautifully subtle landscape composition and Reto Pulfer's heavenly-body installation fit naturally with Vassivière's identity as a singular blend of industrial site and nature reserve. Every night, Radio Vassivière will be broadcasting a different sound work from among those commissioned by the Cnap from Radio France Culture's Atelier de Création Radiophonique. Works by Pierre Alferi, Laurie Anderson, Biosphère, Boris Charmatz, Édith Dekyndt, Aurélie Dubois, Philippe Katerine et Pierre Bondu, Jonas Mekas, Robert Milin, Melik Ohanian, Lee Ranaldo and Leah Singer, Simon Ripoll-Hurier, Anne de Sterk, Chloé Thévenin, Georges Tony Stoll, Véronique Verstraete, Lawrence Weiner Between October 13–15, 2017 a symposium on public art in the rural context will look back over the history of sculpture parks and consider how they are likely to evolve. Participants will include Benoît Antille, José Roca, Liliana Rojas Sánchez, Elke Roloff, Martina Sabbadini, Natsuko Uchino, Philippe Bettinelli, Valérie Cudel and François Hers. Curator: Marianne Lanavère Associated curator: Sébastien Faucon
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