daily recommended exhibitions

posted 15. Dec 2019

Passing Through Architecture: The 10 Years of Gordon Matta-Clark

07. Nov 201916. Feb 2020
Passing Through Architecture: The 10 Years of Gordon Matta-Clark 07.11.2019 - 16.02.2020 At the end of 2019, Power Station of Art will launch two architecture exhibitions at the same day: Passing Through Architectures: The 10 Years of Gordon Matta-Clark and Jean Nouvel, in my head, in my eye... belonging.... As the continuation of PSA's themed program “Architecture & City” Exhibitions and Researches, the two exhibitions are bound to be the fantastic year-end celebration for both art and architecture lovers. Gordon Matta-Clark From November 7, 2019 to February 16, 2020, the Power Station of Art will host the exhibition Passing Through Architecture: The 10 Years of Gordon Matta-Clark. Gordon Matta-Clark (1943-1978) represents a unique case in 20th-century art history. He treated buildings as his artistic medium and is best known for his “cuttings” and reflections on “anarchitecture.” Starting in New York’s downtown SoHo district in the early 1970s, he cut into buildings as if drawing freely in space, producing some of the most celebrated artworks that continue to inspire generations of artists and architects today. As the first large-scale exhibition of Matta-Clark's work in China, Passing Through Architecture: The 10 Years of Gordon Matta-Clark will trace the remarkable thinking and avant-garde works of this interdisciplinary artist from 1968 to 1978 with more than 400 drawings, photo-works, films and archival documents. The exhibition was curated by the renowned architecture historian Mark Wigley. In the same spirit of Gordon Matta-Clark's cuts, this exhibition will follow an existing breach in the Power Station of Art: an invisible diagonal line that passes through the entire building. Notably, this exhibition will display for the first time around 180 drawings and sketches that Matta-Clark never showed during his lifetime, his private explorations. His delicate drawings of trees, cacti, arrows, and energy configurations were an in-depth study of the organic world and the movements of energy that morphed into remarkable sketches of architectural interventions that the artist imagined but never carried out. This hidden world reveals a remarkable counterpart to the groundbreaking work that has made Matta-Clark one of the most admired artists of the 20th-century. Vernissage: November 6, 2019 Location: 3F Power Station of Art Curator: Mark Wigley Scenography Consultant: Li Hu Organizer: Power Station of Art


Mark Wigley 
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posted 14. Dec 2019

Rossella Biscotti, new work

08. Sep 201905. Jan 2020
Rossella Biscotti, new work 08.09.2019 - 05.01.2020 Curators: Rosa de Graaf, Sofía Hernández Chong Cuy Rossella Biscotti’s work has dealt with an exploration of forgotten or untraced events that may come to reveal changing value systems, whether in their processes of production or consumption. The artist is interested in description, and in manifesting through sculpture and images, as well as through other genres and materials, the constitution of sentient beings as they are and not only as they may come to be perceived. She does so with an attentiveness towards revealing individual narratives, which she draws as much from oral histories, as she does from her technical, archival, and field research into sites that have been historically tapped by different forms of mining, exploitation, and confinement. Her exhibition at Witte de With centers on the artist’s most recent research into the forced displacement and exploitation of bodies—human and animal—during the Dutch colonial period in Southeast Asia, and the exportation of plants at the wake of the twentieth century. This, she traces through real and fictional accounts. An earlier work that also derives from this longstanding and ongoing investigation is Clara (2016). In that work, Biscotti’s protagonist is a famed eighteenth century female Indian rhinoceros called Clara, brought to the Netherlands by a captain of the Dutch East India Company (Vereenigde Oostindische Compagnie, VOC). By reason of its presumed exoticness in Europe, the rhinoceros was toured around Europe for seventeen years concluded by her passing. Biscotti’s work literally gave weight to the creature as subject, rather than to its spectacle. Clara is again a subject Biscotti comes to explore for her exhibition at Witte de With. This time, primarily through the artist’s research into the VOC archives, delving into its logbooks and noting the unregistered inventories that come with displacement. The artist also takes other books as the basis for her new work. Among these, is the four-volume novel The Buru Quartet by acclaimed Indonesian author Pramoedya Ananta Toer. From this, she creates work inspired by five of its characters, one based on the life of Surati, who contracts smallpox voluntarily in her efforts to escape subjection as a concubine under Dutch colonialism. On par with this, Biscotti regards the exportation of the flowers rafflesia and amorphophallus titanium. As part of an experiment, toward the end of the 19th century the latter was planted at Bogor Botanical Gardens (then carrying a Dutch name, Buitenzorg) in Indonesia, for exportation to England, the Netherlands, and Italy; to this day, it may be found in the botanical garden of Leiden, the Netherlands, as well as other locations around the world. Rossella Biscotti, new work at Witte de With presents a selection of these works. From the rhinoceros Clara, to the stories of five women and two breeds of corpse flower, the artist creates measured portraits—however uncontained, abstract and lyrical—of instances of forced migration. Moving between fiction and reality, Biscotti regards these narratives of displacement as forms of event.
Witte de With, Rotterdam

NL-3012BR Rotterdam

Netherlandsshow map
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posted 13. Dec 2019

Goldin+Senneby - Insurgency of Life

06. Dec 201908. Feb 2020
Goldin+Senneby Insurgency of Life December 6, 2019–February 8, 2020 Opening: December 6, 6:30pm, with artist talk at 7pm You remember it as a stressful period. You had started a new job and your relationship was out of balance. Your partner had left for France and communication was difficult. You travelled to Paris so you could talk. Your left foot went stiff. Part of your abdomen went stiff, just around the solar plexus. Actually maybe more numb than stiff. The kind of numb, tingling sensation that you can have when your arm falls asleep. The pins and needles sensation. For a moment you can’t locate your arm. You can’t move it. Only this time the moment of numbness, of paresthesia, was extended. It went on too long. Your foot was numb. Your solar plexus was numb. And it wouldn’t go away. You assumed it was psychological. Related to stress. The emotional stress of your crumbling relationship. Insurgency of Life is a retrospective of sorts. A retrospective of a condition. And of dependencies and relationships. Rather than exhibiting a collection of existing artworks, Goldin+Senneby have drawn on bodily experiences from the 15 years that they have worked together, experiences that have shaped both their artistic and life decisions while remaining largely invisible in their artistic output. These experiences concern living with an autoimmune condition—multiple sclerosis or MS—and what that has meant for their joint subjectivity. The exhibition is also a retrospective of an evolving network of collaborators and collaborations the artists’ work has always depended upon. In the gallery, a fountain for cultivating fungi is surrounded by ten Lego robots, each continuously thrusting a mobile phone. Both the fungi and the phone-shaking robots are part of a complex set of dependencies—an open system of care and extraction. The Lego robots are “DIY pedometer cheating machines.” Built using YouTube tutorials posted by patients, the robots continuously trick their smartphone step counter into meeting activity quotas required by insurance companies seeking to harvest patient data. The fungus cultivated in the gallery grows on nutritional agar, but in the wild it lives off cicadas. The spores attach to the cicadas underground, colonize the nymphs, overwhelm them, and eventually sprout out of their heads like miniature cauliflowers. For centuries this fungus has been used in traditional Chinese medicine as an eternal youth nostrum. More recently, its active substance has been patented by the pharmaceutical multinational Novartis as the first pill to treat MS. Around the time of the exhibition, Apple is set to launch a new health research platform with the slogan “The future of health research is you!” But as any patient in a medical trial knows, it’s never about you. “You” are only the anonymous host of a condition, and this condition is the real subject of study and potential commercialization. It is often said that you become what you eat. But as you swallow the pill, you are unsure if you are becoming more like the fungi of eternal youth, or indeed, the cicada whose head is about to sprout. With Anna Heymowska (set designer), Hans Hertz (X-ray physicist), Johan Hjerpe (graphic designer), Ellen Jorgensen (molecular biologist), Ross McBee (biologist), Craig Trester (mycologist), Zhala (musician), Lego Pedometer Cheating Machine (sourced from YouTube) Respondent: Brian Kuan Wood Curated by Maria Lind


Maria Lind 
e-flux, New York

311 East Broadway
NY 10002 New York

United States of Americashow map
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posted 12. Dec 2019

Jeff Wall

18. Jun 201901. Apr 2020
Jeff Wall 18.06.2019 - 01.04.2020 The George Economou Collection is pleased to announce Jeff Wall’s first solo exhibition in Greece. Over the course of a nearly fifty-year career, the Canadian artist has revolutionized the conceptual and visual underpinnings of photography and pushed the medium into the centre of fine art practice. Since first presenting a photograph as a transparency in a lightbox in 1978, Wall has meticulously composed images that reflect and actualise specific social and historical narratives through a critical synthesis of pictorial strategies from both popular culture and classical painting. Jeff Wall offers an intimate encounter with this paradigm-shifting oeuvre. The exhibition is a focused survey of the artist’s photographs and transparencies, including some of his best-known tableaux. Works from the late 1980s up to the recent past are arranged in three groupings, reflecting Wall’s use of different historical genres, installed a dramaturgical unfolding over the three floors of galleries. A verdant street view that captures Wall’s native Vancouver opens the exhibition, exemplifying the artist’s reimagining of the beauty and sublime of the natural landscape by paying equally close attention to signifiers of modern life. In this group of works, roads, ports, prisons and tract houses populate images that might otherwise remind us of the ideal landscape painting of the nineteenth century. A key piece is Wall’s seminal An Eviction (1988/2004), which depicts a charged scene of human conflict against a sprawling vista of Vancouver’s suburbia. The work, which is part of the Economou Collection, also marks the first time Wall used digital tools to re-edit a large-scale photographic image – Eviction Struggle (1998) – adding figures and elements from other photographs taken at the time. On the second floor, an assortment of photographic prints illuminates the modes of artifice and process found throughout Wall’s work. Focusing on meticulous restagings of historical characters and events, these self- reflective photographs reveal the ontological nature of photography by explicitly presenting its subjects to the viewer. The exhibition concludes with a group of large-scale lightbox tableaux from the late 1990s and early 2000s. Works such as Insomnia (1994) and After “Invisible Man” by Ralph Ellison, the Prologue (1999–2000) are some of Wall’s most iconic images and take their inspiration from a broad range of narrative sources. Several showcase the archaeological mode of image-making rendered explicit in Fieldwork (2003), which depicts. Jeff Wall is curated by art historian and curator Philipp Kaiser with Skarlet Smatana, Director of the George Economou Collection, in close collaboration with the artist. A publication with contributions by Philipp Kaiser and James Welling will accompany the exhibition.


Jeff Wall 
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posted 11. Dec 2019


30. Oct 201917. Feb 2020
Giono 30.10.2019 - 17.02.2020 On the eve of commemoration of the 50th anniversary of the death of Jean Giono (October 2020), the Mucem presents via some 300 works and documents a retrospective that goes far beyond the simplified image of the Provencal writer. Following the progression of his written and filmed work, it reveals his darkness, courage and universality. Giono was a poet who had returned from the mass graves of the First World War and was as committed to describing the depth of evil as to finding its antidotes: creativity, work, pacifism, friendships with painters, nature as a refuge, and escapes into the imaginary. To flesh out one of the most prolific artists of the 20th century, almost all of his manuscripts, presented here for the first time, enter into a dialogue with many works and documents: family and administrative archives (including those relating to his two incarcerations); items of photographic reportage; press pieces; first editions; annotated books; sound and film interviews, as well as all of the writer's workbooks; films made by him or that he produced and scripted; cinematographic adaptations of his work by Marcel Pagnol and Jean-Paul Rappeneau (not to mention the animated film by Frédéric Back, The Man who planted trees); the naive paintings of the mysterious Charles-Frédéric Brun who inspired him The Deserter; the entirety of his frightening Journal held during the Occupation; and the paintings of his painter friends, including first and foremost Bernard Buffet. These tangible traces of life and creativity will be doubled up with the symbolic evocation of a matrix experience of the oeuvre entrusted to four contemporary artists. Firstly, there is that of Giono, the simple soldier lost in the maelstrom of war, without which neither the books, the pacifist commitment, the incarcerations, nor the political polemics that punctuate and obscure his progress, logically opens the exhibition with an immersive installation by Jean-Jacques Lebel. Then comes a vision of Provence, far from the folkloric clichés, incarnated via the works of the plastic artist Thu Van Tran and the filmmaker Alessandro Comodin. Finally, the visual artist Clémentine Mélois revisits the library of Giono, this place of freedom and breath, which is at the heart of her life just as much as it is central to the exhibition. —Curation: Emmanuelle Lambert, writer —Consultant: Jacques Mény, president of the Société des amis de Giono —Scenography: Pascal Rodriguez —Catalogue: a co-publication with éditions Gallimard As part of the Year of Giono, with the city of Manosque / DLVA
MUCEM Marseille

13002 Marseille

Franceshow map
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posted 10. Dec 2019

Oscar Murillo - Horizontal Darkness in Search of Solidarity

09. Nov 201927. Jan 2020
opening: 08. Nov 2019 07:00 pm
Oscar Murillo - Horizontal Darkness in Search of Solidarity 9.11.2019 – 27.1.2020 In Kooperation mit Kettle's Yard, Cambridge. Eröffnung der Ausstellung 8.11.2019, 19 Uhr Redner*innen: Christoph Seibt, Bettina Steinbrügge Oscar Murillo - Horizontal Darkness in Search of Solidarity Oscar Murillo (*1986 in La Paila, Kolumbien) zählt zu den aufregendsten Gegenwartskünstlern unserer Zeit. Primär in der Malerei beheimatet, sprengt er zugleich eben diesen Rahmen, indem er unterschiedliche Medien in beeindruckende Gesamtinstallationen integriert. Seine Arbeiten orientieren sich dabei immer an den interkulturellen Beziehungen des Künstlers zu den verschiedenen Städten und Orten, die er bereist und an denen er arbeitet, und zu Kolumbien, wo er geboren wurde. Oscar Murillo transformiert die große Halle des Kunstverein in Hamburg in eine Arena bzw. eine Agora, also einen Ort der Versammlung. Er lädt die Besucher*innen ein, Platz zu nehmen und gemeinsam mit seinen lebensgroßen Figuren die weiteren Arbeiten der Ausstellung zu betrachten und dabei über die Relevanz sozialer Beziehungen und die Möglichkeit von Gemeinschaft nachzudenken. Die Agora ist ein Ort der Aktivität, der Debatte oder des Konflikts und schafft hier einen Moment, an dem angesichts eines schwieriger werdenden Zusammenlebens veränderte Handlungsoptionen entwickelt werden könnten. Im Raum von Horizontal Darkness in Search of Solidarity geht es um spirituelle Solidarität und um die Kenntnisnahme der kollektiven gesellschaftlichen Finsternis, die Murillo in der gesellschaftspolitischen Agitation, den zunehmend entfesselten Naturphänomenen und den grassierenden ethnischen Kämpfen erkennt. Die Idee der Ausstellung im Kunstverein in Hamburg - die Malerei, Zeichnung und Skulptur in einer Intervention kombiniert - resultiert aus dem fortwährenden Glauben des Künstlers an einen geografischen, kulturellen und gesellschaftspolitischen Zusammenhalt. Die Ausstellung entsteht mit freundlicher Unterstützung der Behörde für Kultur und Mediender freien und Hansestadt Hamburg, der Hubertus Wald Stiftung, der Hamburger Sparkasse und dem Lateinamerika Verein und seinen Mitgliedern: Colombia Companions, Ferrostaal Trading GmbH, Hamburg Süd, Helm AG, Neumann Kaffee Gruppe und Santander. Unser Dank gilt zudem David Zwirner, Galerie Isabella Bortolozzi und CARLOS / ISHIKAWA für ihre Unterstützung.


Oscar Murillo 
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posted 09. Dec 2019

Christian Kosmas Mayer "Unverhofftes Wiedersehen"

09. Nov 201911. Jan 2020
opening: 08. Nov 2019 06:00 pm
Galerie Nagel Draxler, Berlin Christian Kosmas Mayer "Unverhofftes Wiedersehen" 09.11.2019 - 11.01.2020 Eröffnung: 08.11.2019 18:00 - 21:00 Die Romantik scheint mir vom heutigen Standpunkt aus interessant als letzte Epoche, in der das säkularisierte und emanzipierte Individuum seine metaphysische Dimension zurück zu gewinnen suchte. Als der schwedische Naturforscher Carl von Linné 1733 nach Falun reist um den versteinerten Bergmann zu begutachten, der dort in einer Vitrine ausgestellt wurde, schneidet sein anschließendes Urteil scharf wie ein Messer durch die seiner Meinung nach abergläubische Sensationsgier der lokalen Bevölkerung: “Er ist nicht versteinert, sondern nur gesalzt in Vitriol; und da sich Salz an der Luft auflöst, wird auch er im Lauf der Zeit vergehen.” Doch zu Beginn des 19. Jahrhunderts, als Gotthilf Heinrich von Schubert die Geschichte des versteinerten Bergmanns in seinem Buch “Ansichten von der Nachtseite der Naturwissenschaft” in Deutschland bekannt macht, klingt sie weit weniger profan: nun liegt der Schwerpunkt der Erzählung auf dem unerwarteten Wiedersehen zwischen dem 50 Jahre unter Tage gelegenen Körper des jungen Bergmann, scheinbar völlig intakt und nicht gealtert, und seiner Verlobten, einer nun alten gebrechlichen Frau die ihn identifizieren kann. Verschiedenste Zeitlichkeiten durchdringen sich hier gegenseitig und laden die Geschichte metaphysisch auf: der konservierte Leib des Bergmanns, jung geblieben durch die Transformation in anorganische Natur, dagegen der biologische Verfall seiner gealterten Verlobten, deren Erinnerung an den Bergmann sich wiederum der Zeit zu widersetzen scheint. Und nach Schubert erkennen viele der bekannten deutschen Romantiker was für eine Sprengkraft diese Erzählung in sich trägt: E.T.A. Hoffmann, Johann Peter Hebel, Achim von Arnim, Friedrich Hebbel, sie alle bearbeiten dieses Motiv in verschiedenen Variationen und überführen es immer weiter ins Reich der Fiktion. Dem Raum des Bergwerks kommt in diesen Erzählungen eine besondere Bedeutung zu, er ist Sinnbild der eigenen Psyche in die man hinabsteigt, ein Ort an dem man den verborgenen Schichten des Unbewussten gefährlich nahe kommt. Gleichzeitig ist das Bergwerk der erste komplett künstliche und technologisierte Raum, den sich der Mensch geschaffen hat. An Höhlensysteme von Tieren haben mich die Faluner Kupferminen erinnert, als ich sie in einem schwedischen Archiv auf handgezeichneten Karten aus dem 18. Jahrhundert abgebildet fand. Ähnlich dem wie ich mir die Gänge und Bauten der arktischen Ziesel vorstelle, die sie seit Urzeiten in den harten gefrorenen Boden des Permafrost graben. Als Wissenschaftler einen solchen 32.000 Jahre alten Zieselbau tief unter der sibirischen Erde fanden, fielen ihnen Tausende an gefrorenen Samen in die Hände die das Tier damals in seinem Futterlager deponiert hatte, um sie nach dem Winterschlaf zu verzehren. Das arktische Ziesel hält den längsten und tiefsten Winterschlaf aller Tiere, 8 Monate am Stück, bei einer Körpertemperatur von -2 Grad Celsius. Das Herz hört fast ganz auf zu schlagen, die Atmung setzt minutenlang aus. Es ist als ob das Tier sich in einen Zustand zwischen Leben und Tod begibt, um die extremen Bedingungen des arktischen Winter zu überstehen, nur um im nächsten Frühjahr wiederbelebt zu werden. So ähnlich wie diesen Winterschlaf stellen sich vermutlich die Anhänger der Kryonik die Zeit vor, die sie kopfüber in mit Hilfe von Helium auf -140 Grad Celsius herunter gekühlten Stahlcontainern verbringen werden, nachdem sie als klinisch tot eingestuft wurden. Es ist der Versuch eine Grenze zu verschieben, die bis vor kurzem als unverschiebbar galt. Wenn der biologische Zerfall gestoppt werden kann, gibt es dann nicht auch berechtigte Hoffnung darauf, irgendwann in einer noch unbekannten Zukunft wiederbelebt zu werden? So wie einer der 32.000 Jahre alten Samen aus dem Zieselbau, der in einem russischen Labor reanimiert werden konnte? Die aus diesem Samen gewachsenen Pflanzen repräsentieren ein lebendiges Stück Eiszeit das in der heutigen Natur nicht mehr zu finden ist. Gedanken an Science-Fiction-Bücher gingen mir unweigerlich durch den Kopf, als ich erstmals davon hörte, auch populär-kulturelle Referenzen von Frankenstein bis Jurassic Park. Umso erstaunter war ich über die zarte Unscheinbarkeit der Pflanzen, als ich sie erstmals vor Augen hatte. Sie gehören zur Familie der Silene. Und wieder drängt sich Carl von Linné in diesen Text, der laut Strindberg mehr Poet denn Naturforscher war. Um sein Klassifizierungssystem zu etablieren, musste er Tausende an Namen (er)finden, um all die damals bekannten Pflanzen und Tiere einordnen zu können. Einer dieser Namen war: Silene. Man geht davon aus, dass er sich auf Silen bezieht, Halbgott aus der griechischen Mythologie und Tutor des Dionysos. Eine vielschichtige Figur zwischen lächerlichem Trunkenbold und weisem Ratgeber. Als Weisheit des Silen gilt seine Antwort auf die Frage von König Midas nach der wünschenswertesten Sache überhaupt: “Es ist am besten, nicht geboren zu werden; und daneben, ist es besser, zu sterben, als zu leben;” Heute, da diese Pflanzengattung vor allem für ihre schier unvorstellbar alten Eiszeitexemplare bekannt ist, scheint ihr Name daher retroaktiv eine gewisse Ironie zu entfalten. Mag man angesichts ihrer Lebensgeschichte doch eher an den apollinischen Grundsatz denken: „Das Allerschlimmste ist, bald zu sterben, das Zweitschlimmste aber, überhaupt zu sterben.” – Christian Kosmas Mayer

artists & participants

,  Christian Kosmas Mayer 
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posted 08. Dec 2019

Danielle Dean. Trigger Torque

15. Nov 201901. Mar 2020
Danielle Dean. Trigger Torque Eine Ausstellung im Ludwig Forum für Internationale Kunst Aachen 15.11.2019 bis 01.03.2020 Eröffnung Do 14.11.2019, 19.00 Uhr Danielle Dean beschäftigt sich in ihrer künstlerischen Arbeit mit der Konstruktion ethnischer, sozialer und geschlechtsspezifischer Rollen, indem sie Narrative untersucht, die sie zum Beispiel in politischen Reden und Nachrichten, Geschäftsbüchern, in Werbeanzeigen und der Populärkultur findet. Mit Trigger Torque präsentiert die amerikanische Künstlerin (geb. 1982) im Ludwig Forum für Internationale Kunst ihre erste Ausstellung in Deutschland. Neben einer Reihe von Neuproduktionen für Aachen unter dem Titel Fordland (2019) zeigt sie zwei weitere große Werkkomplexe, Bazar (2018) und True Red Ruin (2017).


Danielle Dean 


Holger Otten 
Ludwig Forum, Aachen

Jülicher Straße 97-109
52070 Aachen

Germanyshow map
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posted 07. Dec 2019

Barbara Kruger - Forever

27. Jun 201929. Dec 2019
Barbara Kruger Forever June 27–December 29, 2019 In celebration of the first anniversary of its opening of new space in Yongsan, Seoul, the Amorepacific Museum of Art is pleased to present Barbara Kruger’s first-ever solo exhibition in Asia featuring her major works from the 1980s up to her most recent room-wrap text installation. There will also be a video installation, and a world premiere of Kruger’s new works using the Korean alphabet. Kruger’s 16 small, black framed works, including Untitled (Your Gaze Hits the Side of My Face)(1981) and Untitled (Your Body is a Battleground) (1989), are seminal early paste-ups in which a text-image aesthetic deals with visual codes and the general production of knowledge. Equally insightful are Kruger’s 1980s black and white works in her signature red frame, and Untitled (Project for Dazed and Confused) (1996), which consists of six large-scale prints showing wry first-person imaginings of inner thoughts. Her four-channel video installation entitled The Globe Shrinks (2010) and a large-scale room-wrap installation Untitled (Forever) (2017) both invite visitors into an immersive experience inside a thought-provoking environment. Untitled (Plenty Should Be Enough) (2018) and its Korean version Untitled(2019), together with Untitled (2019) (all of them are specially designed by the artist for this show) will convey the artist’s commentary on consumerism, desire, politics, and other less obvious mechanisms of power that operate within contemporary society. Kruger’s 2017 work Untitled (Forever), large texts covering all four walls and floor of the exhibition room, provides a visual shock with its exceptionally large scale and unusual presentation. The key thoughts mirror sentences from Virginia Woolf and George Orwell and thus unfold the artist’s ideas over the last 40 years in a very intense and immersive way. This work has been re-designed by the artist specifically for the Amorepacific Museum of Art and reveals her long-standing interest in architecture and the expanding scale of her installations. By actually being able to move inside the work, and existing within the huge font, one can enjoy moments where questions and thoughts are endlessly generated within us. A specially prepared "archive room" will help to broaden and deepen our understanding of Barbara Kruger and of her creations, by showcasing magazines and newspapers she designed and participated in, together with an interview film with her in her own words. Curated by Kyoungran Kim


Kyoungran Kim 
Amorepacific Museum of Art, Seoul

100 Hangang-daero, Yongsan-gu, Amorepacific Corporation headquarters building
04386 Seoul

Korea (Republic of)show map
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posted 06. Dec 2019

Jean-Luc Mylayne: The Autumn of Paradise

31. Aug 201908. Dec 2019
Long Museum West Bund Jean-Luc Mylayne: The Autumn of Paradise 31.08.2019 - 08.12.2019 Curator Bice Curiger (Artistic Director, Fondation Vincent van Gogh Arles) Organizer Long Museum West Bund; the Fondation Vincent van Gogh; the Aargauer Kunsthaus How can one compare Vincent van Gogh and Jean-Luc Mylayne? Do we not associate these two names with lives and works that could not be more different from each other? We are certainly not instantly struck by any biographical or stylistic common ground or similarity of subject matter that would justify such a juxtaposition, but at the heart of these two artistic imaginations and the approach they take, we do find an abstract and, indeed, fundamental aspect that merits a closer look. It is the concept of time that crystallizes in their art via their chosen mediums, albeit each with a new “epochal” twist – painting in Van Gogh’s case, photography in Mylayne’s. While Vincent van Gogh accentuated the speed with which he painted in an unprecedented way[], Mylayne adds slowness, the prolongation of time to the process of taking pictures. —Bice Curiger, curator of “The Autumn of Paradise” and Artistic Director, Fondation Vincent van Gogh Arles “Jean-Luc Mylayne: The Autumn of Paradise”, is the French artist’s first institutional solo exhibition in mainland China. For more than forty years now, the work of Jean-Luc Mylayne (b. 1946) focuses on the encounter with birds, their fleeting presence captured by the camera. The bird in its natural habitat is Mylayne’s distinctive subject, serving not only as actor but also as conceptual partner on equal terms. Presenting an ensemble of about forty works created between 1979 and 2008, this exhibition, which originated at the Fondation Vincent van Gogh Arles, visually portrays deep conceptual connections between the works of Mylayne and Van Gogh, two artists working in varying mediums at different moments in art history. This connection between the artists is through their respective approaches towards the natural world, crystallizing time through representation, and challenging their era’s dominant way of seeing. At first glance, Jean-Luc Mylayne’s photographs appear like randomly obtained everyday images situated in the transitional areas between unspoiled and rural landscapes. In addition to dominant nature, one can see traces of human civilization in the form of houses, streets, fences, and walls in the distance or at the edge of the picture. Characteristically, there is a bird in every image. Just as the geographical context of the scenes remains indefinite, the specific features of the birds are at times barely discernible. When the animals are captured in motion, they appear distorted and blurred. Sometimes one detects the winged protagonists only at second glance in the parts of the scenery that are out of focus or at the edge of the picture and partly truncated by it. This seemingly non-hierarchical image composition does not conform to the perspectives of ornithological studies or classic nature photography which center on the distinctive features of the birds or the unusual flora. Mylayne focuses on the one particular bird as an individual rather than as a specimen of a particular breed. His pictorial compositions are based on a precise choice and combination of lighting conditions, weather, time of year as well as the selection of the frame and the positioning of the bird. Each “tableau” is well thought out; nothing, not even the smallest detail, is random. The images are intricately composed and always comply with the artist’s conceptual approach. Thus, Mylayne’s photographs are a far cry from anecdotal snapshots. They are the result of months, sometimes even years of preparation. In the period of time indicated in a work’s title, the artist has explored the surrounding area, observed the selected animal and slowly gained its trust without feeding or taming it. This trust is the fundamental prerequisite for a relationship between the photographer and his subject and, by extension, for creating the image. When the moment has come and the scenery meets his expectations, Mylayne takes the photograph. Working with analogue technology, Mylayne’s photographs are unique prints (except for some small-format editions). Equally unique is the moment when the artist presses the shutter release button: a moment that will never return. Together with Mylène Mylayne, his wife, collaborator and namesake, the photographer travelled through rural France and the American Southwest. In 2003, the American Lannan Foundation first made it possible for the couple to spend the winter New Mexico. Four back-to-back winters in Texas followed. Mylayne’s works of this “American period” are characterised by the resounding blue of the sky contrasting with the golden-yellow landscape. The flying protagonists are usually smaller songbirds. No larger birds of prey are featured in Mylayne’s pictures. Here, too, his focus seems to be on the ordinary, with the uniqueness of the bird and the moment revealing themselves only on closer inspection. With all its premises – the use of analogue photography, the making of unique prints, the focus on the same subject over several decades and, above all, the long time needed to produce each individual work – Jean-Luc Mylayne has created an artistic oeuvre that is as radical as it is poetic and, to this day, remains unparalleled. For the exhibition at Long Museum West Bund, the artist couple developed a hanging adapted to the bright galleries of Gallery 2. The arrangement of the works is deliberately not chronological but rather based on associative thematic groups. A joint project with the Fondation Vincent van Gogh in Arles, France, and the Aargauer Kunsthaus, Aarau, Switzerland, the exhibition will travel to the Kestner Gesellschaft in Hanover and Huis Marseille, Museum for Photography in Amsterdam following its presentation in Shanghai.


Bice Curiger 
Long Museum, Shanghai

LONG MUSEUM, No.210, Lane 2255, Luoshan Road

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posted 05. Dec 2019

Turner Prize 2019 | This year's Turner Prize goes to all nominated artists.

28. Sep 201912. Jan 2020
Turner Prize 2019 28.09.2019 - 12.01.2020 **This year's Turner Prize goes to all nominated artists.** Congratulations Helen Cammock, Lawrence Abu Hamdan, Oscar Murillo and Tai Shani! Excerpts from the joint statement: “At this time of political crisis in Britain and much of the world, when there is already so much that divides and isolates people and communities, we feel strongly motivated to use the occasion of the prize to make a collective statement in the name of commonality, multiplicity and solidarity – in art as in society. After a number of discussions, we have come to a collective view that we would like to be considered together for this year’s award. We are therefore writing to request that you as the jury might consider awarding the Prize to the four of us collectively and not to any of us individually. We hope that you will both understand and honour the position we have arrived at. This year you have selected a group of artists who, perhaps more than ever before in the Prize’s history, are all engaged in forms of social or participatory practice. More specifically, each of us makes art about social and political issues and contexts we believe are of great importance and urgency. The politics we deal with differ greatly, and for us it would feel problematic if they were pitted against each other, with the implication that one was more important, significant or more worthy of attention than the others. None us has met each other prior to the Turner Prize, however on our initial meeting in Margate, we quickly recognised the underlying shared ethos that runs across our otherwise very different practices.” The Turner Prize 2019 is a very strong statement in our quest for solidarity! * Turner Prize 2019 This year’s shortlisted artists, who were announced at Tate Britain, are: Lawrence Abu Hamdan, Helen Cammock, Oscar Murillo and Tai Shan LAWRENCE ABU HAMDAN For his solo exhibition Earwitness Theatre at Chisenhale, and for the video installation Walled Unwalled and performance After SFX at Tate Modern, London. Self-proclaimed ‘private ear’, Abu Hamdan’s work investigates crimes that have been heard and not seen; exploring the processes of reconstruction, the complexity of memory and language as well as the urgency of human rights and advocacy. The jury was struck by Abu Hamdan’s exploration of sound as an architectural element and the way he recreates particular situations through sound and performance. HELEN CAMMOCK For her solo exhibition The Long Note at Void, Derry~Londonderry and IMMA, Dublin. The jury praised the timely and urgent quality of Cammock’s work which explores social histories through film, photography, print, text and performance. Creating layered narratives that allow for the cyclical nature of history to be revealed, The Long Note looks at the history and the role of women in the civil rights movement in Derry Londonderry. The work highlights how the complexities of the politics of Northern Ireland have overshadowed the social history of the region and the variety of political positions taken by women during that time. OSCAR MURILLO For his participation in the 10th Berlin Biennale, his solo exhibition Violent Amnesia at Kettle’s Yard, Cambridge and solo exhibition at the chi K11 art museum Shanghai. The jury particularly praised the way Murillo pushes the boundaries of materials, particularly in his paintings. His work incorporates a variety of techniques and media including painting, drawing, performance, sculpture and sound, often using recycled materials and fragments from his studio. Murillo’s work reflects on his own experience of displacement and the social fallout of globalisation. TAI SHANI For her participation in Glasgow International 2018, solo exhibition DC: Semiramis at The Tetley, Leeds and participation in Still I Rise: Feminisms, Gender, Resistance at Nottingham Contemporary and the De Le Warr Pavilion, Bexhill-on-Sea. The jury noted the compelling nature of Shani’s ongoing project Dark Continent, particularly the work’s ability to combine historical texts with contemporary references and issues. Developed over four years, it takes inspiration from a 15th century feminist text, Christine de Pizan’s The Book of the City of Ladies. Shani uses theatrical installations, performances and films to create her own allegorical city of women populated by fantastical characters, transporting the viewer to another time and place. The work of the four shortlisted artists will feature in the exhibition at Turner Contemporary and the winner will be announced at a major awards ceremony on 3 December 2019 live on the BBC, the broadcast partner for the Turner Prize. With a 1hr 27m high speed train link from London St Pancras to Margate, Turner Contemporary is closer to the capital than any previous Turner Prize venue outside of London. Entry to Turner Prize 2019 will be free.
Turner Contemporary, Margate

CT9 1HG Margate

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posted 04. Dec 2019

Nancy Lupo. Scripts for the pageant

21. Nov 201915. Mar 2020
venue: MCASD - Downtown Jacobs Building 1100 & 1001 Kettner Boulevard San Diego, CA 92101 Nancy Lupo. Scripts for the pageant 21.11.2019 - 15.03.2020 Opening: Thursday, November 21, 2019 5 - 8 PM For her first solo museum exhibition, Los Angeles-based artist Nancy Lupo stages a conversation between the architecture of MCASD Downtown’s Farrell Gallery and a new sculpture, Open Mouth. Composed of a circular arrangement of 16 cast aluminum benches, Open Mouth invites viewers to sit and engage the sculpture with their bodies. The benches approximate, in 3/4-scale, versions of benches Lupo noticed at Termini train station in Rome. While the aesthetics of most public furnishings are meant to recede behind their functionality, the odd end pieces of the Termini bench stand out for their peculiarly suggestive form, appearing alternately as a tombstone or as an enlarged tooth. If imagined from above, Lupo’s Open Mouth follows a double catenary curve to trace the diagram of an open mouth, where the curious end pieces stand in as teeth in an adult human jaw. The title for the exhibition, Scripts for the Pageant, is shared with a poem by James Merrill. Less of a specific reference, Lupo uses language as another kind of found object, to be re-staged and re-contextualized. Alongside the installation of benches, the exhibition includes a carefully chosen selection from a series of ongoing works in photography, video, writing, and sculpture that form part of what she considers to be an archive or alphabet. Each of these pieces is brought together to construct an internal logic within the exhibition, based around rules or systems that are not always visible. Lupo’s work has been included in group exhibitions at the Hammer Museum, Los Angeles (2018, 2013); Musée d’art contemporain de Lyon, France (2017); Museum of Contemporary Art, Los Angeles (2016); Atlanta Contemporary (2016); MoMA PS1, New York (2014); and Night Gallery, Los Angeles (2013), among others. She is a recipient of numerous awards, including the Rema Hort Mann Foundation Artist Grant (2015), Foundation for Contemporary Art Emergency Grant (2013), and Virginia Commonwealth University’s Fountainhead Fellowship (2012). Furthermore, she had solo presentations such as The Square at Noon, Visual Arts Center University of Texas, Austin

 (2019); Parent and Parroting, The Swiss Institute, New York (2016); or A Desire to Learn Esperanto: Having a Thing to do with Esperanto, Ballantine Beer, both or neither, (curated by Olivian Cha), Los Angeles Public Library, Los Angeles (2010).


Nancy Lupo 
Museum of Contemporary Art San Diego

Jacobs and Copley Buildings | 1001 Kettner Blvd.
CA-92101 San Diego

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posted 03. Dec 2019


12. Oct 201923. Feb 2020
In October ARKEN will be showing a dazzling array of Pablo Picasso's best works in the exhibition Beloved by Picasso: The Power of the Model. The exhibition has been organized in a unique collaboration with Musée national Picasso-Paris, from which all 51 works in the exhibition have been lent. Beloved by Picasso shows paintings, drawings and prints by the famous artist and sheds light on the relations between Picasso and his models. Picasso's passions and the power of the model Pablo Picasso is one of the most important and acclaimed figures in the history of art; famous for his art and his capacity to renew himself, notorious for his uncompromising life. In Picasso's impressive oeuvre art, love, family life and politics merge - with the relationships between the painter and his models as a central feature of his life and art. The exhibition Beloved by Picasso: The Power of the Model takes a fresh look at the relations between Pablo Picasso and his models. The exhibition offers unique insight into how Picasso's friends, family, wives and lovers challenged and inspired his artistic development; and refutes the idea of Picasso's models as passive objects of the artist's gaze by turning the focus on the power of the model and her role as an equal partner. We can look forward to a magnificent Picasso experience in the autumn, when Beloved by Picasso: The Power of the Model takes over the halls at ARKEN from 12 October 2019.


Pablo Picasso 
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posted 01. Dec 2019

Sarah Lucas

02. Nov 201916. Feb 2020
opening: 01. Nov 2019
Sarah Lucas 2019.11.02 - 2020.02.16 Sarah Lucas, one of Britain’s leading and most influential artists, will hold her largest solo exhibition to date in Asia at the Red Brick Art Museum opening on November 1st 2019. Curated by Yan Shijie, director of the museum, the exhibition will feature more than 100 works from Lucas’s thirty-year career, bringing together important past works and new pieces created especially for the project to reflect the creative trajectory of this uncompromising British artist to a Chinese audience. 30 Years of an Artistic Career Reviewed in China In 2018, at the time of Sarah Lucas’s major retrospective at the New Museum in New York, her first solo exhibition in China was being planned on the other side of the Pacific. This exhibition is regarded by Sarah Lucas as “A big show surveying my career of thirty years.” She will complete a series of new works during her residency in Beijing. “I don’t have a strong sense of what and how Chinese people think about the cultural, conventional, audacious, radical, conservative — things that I have some sense of, in England at least.” This does not affect her expectations regarding her first exhibition in China. “I always think making an exhibition is an artwork in itself. In different fields and cultural contexts, the cross-cultural dialogue inspired by the works will be different, so I am all eyes and ears and antennae.” A member of the YBAs (Young British Artists) that emerged in the 1990s, Sarah Lucas was born in London in 1962 and grew up during the 1980s, in Thatcher’s conservative Britain. During her time at Goldsmiths College, she became dissatisfied with the minimalism-influenced sculptures she had created so far, and, inspired by feminist literature, pornography, and sexuality, she began to turn to cheap and accessible materials that she felt were relevant to her life. Over the past three decades, Lucas has used found and everyday objects to create her unique and highly vocal visual language, transforming common items such as furniture, food, tabloids, stockings, toilets, and cigarettes into confusing and ridiculous or bold, humorous, and confrontational works of art. In her New York Times review of the New Museum show, Roberta Smith highlighted the “unrelentingly challenging attitude” of Lucas’s work and noted that “her blunt yet ambiguous meditation on gender, class and language make her one of the few great artists to emerge from the YBA ranks…” “I believe that the Chinese audience is ready for the upcoming cultural hurricane of Sarah Lucas,” curator Yan Shijie said. “The YBAs that emerged in the 1990s were rooted in a special era. Compared to 30 years ago, the world has undergone drastic changes. This exhibition will show everyone that Lucas, as an important YBA member, has maintained her strong creativity and persisted in her ways, keeping her style consistent, yet responding positively to this era.” Redefining Female Roles with Everyday Objects Sarah Lucas is best known for using various objects as extensions or replacements of the human body. Her suggestive works usually use consumer goods, for example agricultural products and food, as well as symbols of the working-class, such as cigarettes, beer cans, toilets, bathtubs, and automobiles. During her residency in Beijing, Lucas will create new works with local found objects, such as has been done before with old bathtubs and cars. The Au Naturel installation created in 1994 is one of Lucas’s early masterpieces. The work features a discarded mattress against a wall, with various objects placed upon it. A bucket and two melons represent the female physique, while two oranges and a cucumber are placed in a suggestively phallic position. The artist thus showed the human body through the use of food, and a decade later, she described herself as a toilet: a container for digested waste. Lucas often utilized the toilet element in her later sculptures, for example Floppy Toilet (2017), which comprises a series of toilet bowls cast in yellow resin, similar to the color of urine. Their anthropomorphic character and translucent materiality lend them an unexpected grace that contradicts their scatological implications. “Humor” is the key entry point for Lucas’s work. By creating a “female” toilet, as an opposition to the “male” urinal in Marcel Duchamp’s Fountain (1917), she pays tribute to Duchamp and, at the same time, tries to make up for the lack of female artists in avant-garde art practices of the 20th century. Cigarettes occupy an important position in Lucas’s early creations: she sees them as a symbol of manhood as well as misconduct. In proverbs, cigarettes were once called “coffin nails.” They could very well be the most popular and commoditized symbol of death of our time. Christ You Know It Ain’t Easy (2003) consists of a cigarette-coated effigy of Jesus hanging at the center of a giant Cross of Saint George — the English flag. Themes of nationhood, religion, blasphemy, smoking, and mortality come together in this comic reinterpretation of the Crucifixion, which was shown in the exhibition. In the large-scale sculpture Epitaph BLAH BLAH, a mangled car has been meticulously coated with cigarettes. Forming a mosaic-like carapace across the car’s bodywork, the cigarettes stand in stark contrast to the damaged car with its wrecked exterior and exposed engine. Overlaying a specter of brute violence with a subtler — and painstakingly wrought — insinuation of mortality. The Self-Portrait photograph series, taken from 1990 to 1998, is an important part of Sarah Lucas’s artistic practice, for which she served as both creator and subject. In the photographs, she wore neutral, androgynous clothing, yet retained feminine, erotically suggestive gestures. In the end, the viewers were presented with both the artist’s subjective creation and an objective entity. “Many of Lucas’s early works have autobiographical characteristics and lean towards the ‘masculine’, or at least deliberately ‘anti-feminine’, or androgynous,” famous feminist art historian Linda Nochlin once commented. “It was the arbitrariness of gender identifications, their sleazy crudeness in modern popular representation that Lucas was after in this show, the way they could still shock and make the public take notice, the way they could still call attention to the arbitrary structure of power relations both personal and social, especially where sex was concerned.” The Bunny series of 1997 approximated female forms — fragile, available, literal — through iconic pantyhose and found objects. First shown in 2009, the NUDs sculptures similarly consist of nylon tights stuffed with fluff and fashioned into ambiguous biomorphic forms. It achieved a paradoxical combination of sturdiness and fragility. Lucas’s new works belonging to the Bunny and NUDs series, specially created for this exhibition, will also be presented to viewers. The creation of the Penetralia series, resembling mysterious ancient totems, began in 2008. It consists of plaster casts of flints found in the landscape around her Suffolk home, which she combined with untreated timber and various found objects. This series dates from shortly after Lucas’s permanent move to the Suffolk countryside and bears witness to a new engagement with the British landscape and its pagan resonances. The series marks the first appearance of mystic characteristics in Lucas’s work. On the opening day of the exhibition, the artist will also bring her performance act One Thousand Eggs: For Women, inviting women and men in female clothing to join her in the act of throwing/hurling/lobbing fresh eggs — objects often associated with female fertility — at the white walls of the gallery space. Eggs in various forms — smashed, raw, fried — have been present throughout Lucas’s œuvre as a recurring motif, used simultaneously for symbolic and comedic effect. The resulting wall of dried streams of yellow yolk, egg white, and eggshell will stand as a record of this happening. “You can let a lot out,” said Lucas. “It is a liberating thing and I don’t think women are letting it out.” Presenting YBAs over a Span of 25 Years The Red Brick Art Archive will present about 35 photographs taken by her friend and photographer Johnnie Shand Kydd. In the 1990s, he started photographing artist friends including Sarah Lucas, Damien Hirst, Gary Hume, Angus Fairhurst, Mat Collishaw, and Jake and Dinos Chapman, especially in their own studios, clubs, bars, and other social places, thereby becoming the chronicler of the YBA movement. The works span 25 years and record Lucas and her friends from 1996 to the present, with Lucas having remained a consistently compelling subject for the photographer. As shown in these images, she either chooses to ignore the camera’s presence entirely or to confront it head on — it is always on her terms. As Shand Kydd notes, “It is almost impossible to take a photograph of Sarah that doesn’t intrigue on some level.” The Archive will also present an extensive collection of catalogs, manuscripts, and ephemera displayed alongside films of Lucas made by her partner Julian Simmons, giving the audience an intimate portrait of this radical artist. *In view of the particular nature of certain content, visitor discretion is kindly advised. Please be noted that no minor shall be granted entry without an accompanying parent/guardian present. For more information, feel free to write us at service@redbrickartmuseum.org or call us via +86 (0)10 8457 6669 ext. 8800. About the artist: Sarah Lucas (b. 1962, London) studied at the Working Men’s College (1982–3), London College of Printing (1983–4), and Goldsmith’s College (1984–7). Her work was the subject of a major retrospective ‘Sarah Lucas: Au Naturel’ at the Hammer Museum, Los Angeles (June to September 2019), travelling from the New Museum, New York (September 2018 to January 2019, accompanied by a catalogue). Following her participation in the seminal group show ‘Freeze’ (1988), early solo shows included a presentation at the artist-run gallery City Racing, London, and ‘The Whole Joke’, Kingly Street, London (both 1992). Over the last decade, her exhibitions and residencies have included ‘LUCAS BOSCH GELATIN’, Kunsthalle Krems, Austria (2011); ‘NUDS’, Museo Diego Rivera Anahuacalli, Mexico City (2012; a project that was subsequently chronicled in the encyclopedic book TITTIPUISSIDAD); and ‘Ordinary Things’, Henry Moore Institute, Leeds (2012). From 2012-13, SITUATION – a space dedicated to her work at Sadie Coles, London – hosted eight consecutive shows. 2012 also saw the publication of After 2005 – Before 2012, a publication chronicling the artist’s work over seven prolific years since the publication of her 2005 catalogue raisonné. In 2013 she had a major retrospective at the Whitechapel Gallery, London (2013), which was followed by surveys of her work at Secession in Vienna (2013-14) and at Tramway in Glasgow (2014). In 2015 she represented Britain at the Venice Biennale, with the exhibition ‘I SCREAM DADDIO’ (accompanied by a book authored by the artist), which was followed by exhibitions at Sir John Soane’s Museum, London – ‘POWER IN WOMAN’ (2016); and Humber Street Gallery, Hull, UK (2017). About the curator: Yan Shijie, founder, director and curator of the Red Brick Art Museum. Always adhering to the value of ‘academic-oriented and quality first,’ he is a pioneer in proposing and implementing the concept of ‘ecological museum experience’ in China. In 2016, he curated the exhibition ‘Identification Zone: Chinese and Danish Furniture Design’ which was the first design-centered dialogue between Chinese classical furniture and Danish furniture masterpieces. In the largest Sino-German cultural exchange project in 2018, ‘Deutschland 8-Deutsche Kunst in China’, Yan Shijie as the deputy general curator together with the general curator Fan Di’an and Walter Smerling curated ‘Prologue-German Informel Art’. In 2018, he curated ‘The unspeakable openness of things’-the largest solo exhibition of Olafur Eliasson in China to date. Other well-received exhibitions curated by Yan Shijie include ‘Izumi Kato’ (2018), ‘Andreas Mühe: Photography’ (2018), ‘Andres Serrano: An American Perspective’ (2017) and ‘Wen Pulin Archive of Chinese Avant-Garde Art of the 80s and 90s’ (2016). Curator: Yan Shijie Dates: November 2, 2019 – February 16, 2020 Opening: November 1, 2019 Organised by: Red Brick Art Museum With support from: British Council


Sarah Lucas 


Yan Shijie 
Red Brick Art Museum, Beijing

Red Brick Art Museum | Shunbai Road, Chaoyang District
100103 Beijing

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posted 30. Nov 2019

Carroll Dunham / Albert Oehlen. Bäume / Trees

30. Nov 201901. Mar 2020
**CARROLL DUNHAM / ALBERT OEHLEN. BÄUME / TREES** 30.11.2019 – 01.03.2020 Die weltweit renommierten und gerade für eine jüngere Generation von Künstlern enorm einflussreichen Maler Carroll Dunham aus den USA (*1949 in New Haven, Connecticut, lebt dort und in New York) und Albert Oehlen (*1954 in Krefeld, lebt in Gais, Schweiz) stellen erstmals gemeinsam aus. Beide Künstler kennzeichnet ein äußerst eigenständiges und komplexes Œuvre. Beiden ist gemein, dass sie innerhalb selbst gesteckter Parameter immer wieder die Möglichkeiten der Malerei testen, dass sie unermüdlich Zeichen setzen und Spuren verwischen und dabei in ungemein eigenständiger Weise mit Techniken, Oberflächen und Strukturen experimentieren. Nirgends wird dies deutlicher als bei dem gemeinsamen Sujet der Bäume, das beide Künstler mehrfach in ihrem Werk aufgenommen und für sich ausformuliert haben. Während Bäume bei Albert Oehlen blattlos kahl, mitsamt Wurzeln den Bildraum dominieren und zum figurativen Anstoß abstrakter Bilder werden, ist der Baum bei Carroll Dunham mal blühend, mal vom Wind gepeitscht, dann wieder frisch gefällt und tot zu sehen. In der Zusammenführung von Dunham und Oehlen, die im jeweiligen Kollegen den „wahrscheinlich besten Baum-Maler der Welt“ sehen, lassen sich ausgehend vom Sujet des Baumes unzählige philosophische, theologische, soziologische, ökologische und natürlich kunsthistorische Betrachtungen ableiten. Vom biblischen Baum der Erkenntnis und damit dem Ort des ersten Sündenfalls bis zum Lieblingsmotiv der Romantiker, von der radikal-modernistischen Fragmentierung durch Piet Mondrian bis zur Pflanzung der 7.000 Eichen durch Joseph Beuys – der Baum ist immer wieder ein zentrales Motiv unserer Religions-, Geistes- und Kulturgeschichte. Wenn Carroll Dunham und Albert Oehlen den Baum ein ums andere Mal zu ihrem zentralen Motiv erklären, sind ihnen all diese kultur- und kunsthistorischen Bezüge natürlich bewusst. Und doch wird der Baum für sie zum Anlass purer Malerei, zum Ort des unermüdlichen Experiments, zu einem Testfall für die immer noch nicht erschöpften Potentiale eines uralten analogen Mediums. Letztlich geht es um die Frage nach der Abstraktion von Welt und für Dunham und Oehlen damit um nichts weniger als den visuellen Sinn des Lebens in der Kunst. * **BEGLEITPROGRAMM:** Familientag Sonntag, 8. Dezember 2019 13.30 Uhr: Öffentliche Führung 13 bis 15 Uhr: Blattwerk Offenes Atelier für Kinder ab 5 Jahren Ohne Voranmeldung. Teilnehmerzahl begrenzt. Eintritt und Programm frei Informationen zum Ferienprogramm für Kinder und Jugendliche finden Sie hier. Direktorenführung Donnerstag, 19. Dezember 2019, 17 Uhr Führung im Eintritt inbegriffen Öffentliche Führungen Jeden Sonntag, 13.30 Uhr Führung im Eintritt inbegriffen Kunst im Gespräch / Art Talk Jeden Samstag und an allen Familientagen, 15 – 18 Uhr Weitere Termine entnehmen Sie bitte unserer Website. **WALD.INNERES** Ein Doppelporträt von Kunsu Shim und Gerhard Stäbler Donnerstag und Freitag, 5. und 6. Dezember 2019, jeweils 19.30 Uhr „Wie kann man erwarten, dass die Vögel singen, wenn ihre Haine gefällt werden?“ so schreibt der amerikanische Philosoph H. D. Thoreau. Der Wald ist nicht nur für Thoreau, sondern für uns alle der Ort, der „singt“. Das Singen ist Ausdruck des Inneren. Der Wald ist unser Inneres. Wenn der Wald schwindet, verlieren wir unsere Gesänge, damit unser Inneres. So bleiben nur das Äußere und das glatte Transparente. Ein Ort ohne Schatten. Ohne Schatten gibt es aber auch kein Licht. Das Performance-Konzert WALD.INNERES verbindet Vokalwerke von Luigi Nono, Kunsu Shim, Gerhard Stäbler und Anton Webern mit einer Kollektivkomposition von Peter Androsch, Christian Barnasik, Peter Gahn, Christian Jendreiko, Nicolas Kuhn, Munsuk Lee, Arnold Marinissen, Bernd Preinkfalk und Linna Zhang und versucht im Kontext von Bildern der Maler Carroll Dunham und Albert Oehlen einen singenden Platz des Schattens zu entwerfen. Alexandra von der Weth (Sopran) und Vokalensemble „ANIMA MUNDI“ (Roland Techet, Leitung) Eintritt pro Termin: 8 € Ermäßigt: 4 € Nur Abendkasse, ab 19 Uhr geöffnet **NACHTFOYER Mischa Kuball. res·o·nant** Dienstag, 10. Dezember 2019, 19 – 22 Uhr Mischa Kuball im Gespräch mit Kathrin Dreckmann, Gregor Jansen und Gregor H. Lersch Von November 2017 bis September 2019 pulsierte res·o·nant, eine konzeptuelle Licht- und Klanginstallation, durch die Libeskind-Architektur des Jüdischen Museums Berlin. In diesem Buch untersuchen und interpretieren 22 Denker*innen, Künstler*innen und Autor*innen das Werk Mischa Kuballs in den fünf thematischen Abschnitten Erfahrungsraum, Void, Klangraum, Licht und Stadtraum. In Kuballs Installation sowie dem begleitenden Performance-Programm wird Resonanz zum Gegenbegriff von Entfremdung in der Welt. Mit Beiträgen von Christoph Asendorf, Juan Atkins, Horst Bredekamp, Diedrich Diederichsen, Kathrin Dreckmann, Shelley Harten, Norman Kleeblatt, Alexander Kluge, Mischa Kuball, Daniel Libeskind, Gregor H. Lersch, Léontine Meijer-van Mensch, W. J. T. Mitchell, Hans Ulrich Reck, Richard Sennett, Peter Weibel, Lawrence Weiner, John C. Welchman, Alena J. Williams

artists & participants

Carroll Dunham,  Albert Oehlen 
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posted 29. Nov 2019

Bridget Riley

23. Oct 201926. Jan 2020
Bridget Riley October 23, 2019–January 26, 2020 Hayward Gallery presents a major retrospective exhibition devoted to the work of celebrated British artist Bridget Riley. Spanning 70 years of the artist’s working life, it is the largest and most comprehensive exhibition of her work to date. Bridget Riley is one of the most distinguished and internationally renowned artists working today. Her pioneering approach to painting involves the skilful balancing of form and colour, yielding a continuous but highly varied enquiry into the nature of abstraction and perception. Riley’s rigorous and visually-charged works actively engage the viewer, bringing attention to the act of looking at paintings and perceiving the world around us. This exhibition traces both the origins and the evolving nature of Riley’s innovative practice. Chronicling early works to recent paintings, it features the artist’s iconic black-and-white works of the 1960s (Kiss, 1961, Movement in Squares, 1961 and Blaze 1, 1962) and an extensive range of colour canvases (among them Rise 1, 1968, High Sky, 1991 and Aria, 2012), as well as rarely-seen figurative works and studies. Including over 200 works and 50 key paintings, the exhibition is organised thematically rather than chronologically, and draws attention to the interests and themes that recur throughout Riley’s formidable body of work. The exhibition also features four key wall paintings (Composition with Circles 4, 2004, Rajasthan, 2012, Quiver 3, 2014 and Untitled (Measure for Measure Wall Painting), 2017), several large canvases that have seldom been seen in this country (Exposure, 1966, Paean, 1973 and Aubade, 1975) and the only three-dimensional work that the artist ever realised, Continuum (1963/2005). A selection of drawings, studies and preparatory works offer insight into Riley’s working methods, from 1947 to the present day. This retrospective builds on the long-standing relationship between the artist and Hayward Gallery. It is Riley’s third solo show at Hayward, having previously presented solo shows here in 1971 and 1992. Following the award of the International Prize for Painting at the 34th Venice Biennale in 1968, her ground-breaking 1971 exhibition Bridget Riley: Paintings and Drawings 1951-71 was both the first UK survey of her work and the first large-scale exhibition at Hayward Gallery devoted to a contemporary British painter. She continued to show at Hayward from the 1970s onwards, with several touring solo exhibitions arranged by the Arts Council, and in 2002 acted as co-curator, with Robert Kudielka, for Paul Klee: The Nature of Creation. Bridget Riley is accompanied by an illustrated catalogue featuring critical writing, statements and conversations selected by the artist that reflect on different aspects of her 70-year career. Contributors include the artist herself, Michael Bracewell, John Elderfield, Dave Hickey, Robert Kudielka, Frances Spalding and Richard Shiff. The exhibition’s public programme includes a talk by US-based curator Lynne Cooke; a panel discussion on abstraction in contemporary art featuring artists Sara Barker, Rana Begum and Isabelle Cornaro; and a half-day symposium on Riley’s innovative practice. London Sinfonietta will give the London premiere of a new commission by leading Austrian composer Georg Friedrich Haas, inspired by Riley’s work, while a number of other concerts take place in the exhibition itself. These include performances of Steve Reich’s minimalist masterpiece Drumming, and music by award-winning young guitarist Sean Shibe. The exhibition is organised by the National Galleries of Scotland in partnership with Hayward Gallery. At Hayward Gallery, it has been curated by Senior Curator Dr Cliff Lauson, with Assistant Curator Sophie Oxenbridge and Curatorial Assistant Alyssa Bacon.


Bridget Riley 
Hayward Gallery, London

Southbank Centre | Belvedere Road
SE1 8XZ London

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posted 28. Nov 2019

Discrete Austrian Secrets

16. Nov 201931. Mar 2020
Discrete Austrian Secrets 16.11.2019 - 31.03.2020 artists Iris Andraschek, Herbert Brandl, Sevda Chkoutova, Georgia Creimer, Josef Dabernig, Judith Fegerl, Bernhard Frue, Franz Graf, Elisabeth Grübl, Manfred Grübl, Siggi Hofer, Leopold Kessler, Michael Kienzer, Florin Kompatscher, Kurt Kren, Claudia Märzendorfer, Rita Nowak, Ingo Nussbaumer, Sabine Ott, PRINZGAU/podgorschek, Helga Philipp, Elisabeth Plank, Rudolf Polanszky, Werner Reiterer, Gerwald Rockenschraub, Martin Roth, Ruth Schnell, Christian Schwarzwald, Andrea van der Straeten, Christoph Weber curator Margareta Sandhofer
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posted 27. Nov 2019

Im Licht der Nacht – Vom Leben im Halbdunkel

26. Oct 201909. Feb 2020
Vom Leben im Halbdunkel 26.10. – 09.02.2020 Die Erfindung der Glühlampe ist eine Errungenschaft des 19. Jahrhunderts, die vor allem in den pulsierenden Metropolen dieser Welt dem natürlichen Wechsel von Tag und Nacht ein Ende setzte. Grell erleuchtete Tankstellen und Einkaufszentren, Schichtarbeit und Nachtclubs sind nur einige Facetten dieser Entwicklung. Die entgrenzte Nacht steht im Zentrum dieser großen Ausstellung, die mit Werken von der frühen Moderne bis zur Gegenwart der Frage nachgeht, wie das Ordnungsprinzip von Hell und Dunkel, von Aktivität und Schlaf auf den Kopf gestellt wird, wie sich Wahrnehmung und Lebensalltag grundlegend verändern und Zwischenwelten entstehen. In Bildern, Skulpturen und Installationen erlebt man, wie das Licht der Dämmerung die Fantasie beflügelt und im Schein künstlicher Beleuchtung die Maskerade nächtlicher Akteur*innen schillernd zu Tage tritt. Ausstellung und Katalog entstehen als Kooperation zwischen KAI 10 | ARTHENA FOUNDATION, Düsseldorf, und dem Museum Marta Herford. Der historische Kern im Marta Herford basiert zudem auf einer Teilübernahme der Ausstellung „Peindre la nuit“ aus dem Centre Pompidou Metz.   Künstler*innen Berenice Abbott, David Altmejd, Elvira Bach, Anna-Eva Bergman, Christian Boltanski, Louise Bourgeois, Martin Boyce, Brassaï, André Breton, Michael Buthe, Auguste Chabaud, Clément Cogitore, Robert Delaunay, Kees van Dongen, Marlene Dumas, Henri Evenepoel, Conrad Felixmüller, FORT, Rodney Graham, George Grosz, Simon Hantaï, Nicholas Hlobo, Alex Katz, Martin Kippenberger, William Klein, Martin Kohout, Germaine Krull, František Kupka, Anna Lange, Ján Mančuška, Hans Op de Beeck, Philippe Parreno, Emilie Pitoiset, Sigmar Polke, Alexandra Ranner, Man Ray, Alona Rodeh, Silke Silkeborg, Arnold Schönberg, Jan Sluijters, Andrea Stappert, Hiroshi Sugimoto, James Turrell, Félix Vallotton, Anna Vogel, Jeff Wall, Ambera Wellmann, Michael Wolf
MARTa Herford

Goebenstr. 4-10
32052 Herford

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posted 26. Nov 2019

Tala Madani. Shit Moms

23. Nov 201919. Jan 2020
opening: 22. Nov 2019 07:00 pm
Tala Madani. Shit Moms 23.11.2019 - 19.01.2020 Pressekonferenz: Freitag, 22. November 2019, 11 Uhr Eröffnung: Freitag, 22. November 2019, 19 Uhr Shit Moms, der Titel von Tala Madanis Ausstellung in der Secession, ist auch die Bezeichnung einerneuen Werkgruppe, die sich mit den Vorstellungen und Idealen wie der (körperlichen) Wirklichkeit desMutterseins auseinandersetzt. Die umgangssprachliche Bezeichnung für Frauen, die auf die eine oderandere Weise in ihrer Aufgabe oder Rolle als Mutter scheitern, inspirierte Madanis Herangehensweise an das Thema: Verschmierte und etwas aus der Form geratene weibliche Körper erscheinen alsMuttergestalten aus Exkrementen. Die „Scheißmütter“, die in zärtlicher Zweisamkeit mit einem Baby oder umgeben von mehreren Kindern gezeigt werden, bewohnen Wohnungen von moderner Eleganz, erstrahlen im Scheinwerferlicht von Diskotheken und beobachten heimlich Babys, die in verlassenen Häusern spielen. Zwischen den ShitMoms eingestreut sind kleinere Gruppen von Malereien, gerahmt von drei großen Diptychen in denEcken, in denen jeweils auf einer Leinwand ein Projektor gemalt ist, der sein Bild auf den anderen Teildes Werks zu werfen scheint. Neben den Malereien wird Madani auch eine Reihe von Animationsfilmen zeigen, deren Protagonistenauf verstörende und geradezu bösartig urkomische Weise in einer Spirale zerstörerischer Gewaltgefangen scheinen. In beiden Formaten kommt eine Bildsprache zum Einsatz, die in oft grotesker Überzeichnung zugleich drastisch und zärtlich, obszön und witzig ist. Madanis Werk entwirft eine Welt, in der Urtriebe nicht durchKonventionen und gesellschaftliche Normen gezügelt werden. Von ihren Arbeiten geht ein Licht aus, dasnach innen wie nach außen strahlt und so menschliche Instinkte, aber auch auf den Kopf gestelltegesellschaftliche Rituale erhellt. Tala Madani wurde 1981 in Teheran geboren und studierte in den Vereinigten Staaten. Sie lebt und arbeitet in Los Angeles.


Tala Madani 
Wiener Secession

Friedrichstraße 12
A-1010 Vienna

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posted 25. Nov 2019

Johannes Bendzulla. Schon wieder fühlen

17. Nov 201923. Dec 2019
opening: 16. Nov 2019 06:00 pm
Johannes Bendzulla. Schon wieder fühlen 17.11.2019 - 23.12.2019 opening saturday 16 Nov, 6-9 pm
Petra Rinck Galerie, Düsseldorf

PETRA RINCK GALERIE | Birkenstrasse 45
40233 Dusseldorf

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