daily recommended exhibitions

posted 21. Jul 2018

Christo and Jeanne-Claude: Barrels and The Mastaba 1958–2018

19. Jun 201809. Sep 2018
Serpentine Galleries, London

Kensington Gardens
W2 3XA London

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posted 20. Jul 2018

Lala Nómada | Diluidos

22. Jun 201801. Sep 2018
opening: 21. Jun 2018 18:00
Lala Nómada | Diluidos 22.06.2018 - 01.09.2018 Eröffnung: 21.06.2018 18:00 Galerie Michaela Stock Performance: 18 - 20h In ihrer Ausstellung „Diluidos" in der Galerie Michaela Stock thematisiert Lala Nomada Erfahrungen des menschlichen Körpers und Erinnerungen an seine ehemalige Präsenz als Beweis für das Leben. Die mexikanische Performance Künstlerin arbeitet seit einiger Zeit am Konzept und der Realisierung einer konkret seriellen Kunst, in der durch den Einsatz weniger Komponenten – Kohle, Kohlenstaub und ihrem Körper – eine große Anzahl von Performances, Video-Installationen und Fotografien entstanden sind. Diluidos kann am besten mit auflösen oder vermischen übersetzt werden. Denn genau das passiert beim Kontakt mit der Kohle, wenn der Körper der Künstlerin auf sie trifft. Sie verändern und beeinflussen sich gegenseitig. Die Kohle wird erforscht und bearbeitet. Priorität für die Performancekünstlerin ist die Qualitäten des Materials in sich aufzunehmen und ihre Amorphität als Materialisierung von Körperlichkeit und Emotionen zu verorten. Die Kohle steht für Energie und Leben aber auch Vergänglichkeit und Schmerz. In den ausgestellten Fotografien, der Video-Installation und der Performance (diese findet am Eröffnungstag, 21.6. statt), verknüpft Lala Nomada Vergängliches mit Beständigem: ein Fingerabdruck, das Sammeln von Fußspuren oder die performative Aktion selbst. Ihr Körper ist manchmal mit Kohle bedeckt, sie bettet sich darauf oder verschwindet gar in ihr. Mit ihrem Verschwinden möchte sie auf die unzähligen, ungeklärten Fälle von verschwundenen Personen in Mexiko aber auch weltweit aufmerksam machen. Wenn aber etwas nicht nur aufgehört hat, lebendig zu sein, sondern auch noch unsichtbar geworden ist, ist die visuelle Repräsentation ganz besonders wichtig. Somit bestätigt ein Bild des Verschwindens das Prinzip des Verschwindens. Lala Nomada erzählt uns in Diluidos Parabeln von Umwandlung, Gegensätzen und Symbiose, voller globaler Bezüge und lokaler Befindlichkeiten bestehend aus gelöschten Erkennungs-, Lebens- und Wahrnehmungszeichen, zwischen Tiefe und Poesie. No future. I cannot imagine it. I constructed in my thoughts the memory few hours ago: My eyes were opened in the darkness, I couldn't see any difference between having my eyes opened or closed... It was simply dark, entirely dark; no depth, no pattern. It must be like that. And still, I can sense myself. I know I'm there... somewhere, even if it's a placeless place. I'm there, inside my body that is the only place in that endless darkness. I feel so disturb when I think about the darkness without the only place I know: the inside of my body. When I die, when we all die, we won't have a body anymore... Would we disappear with it too? Or are we going to dissolve with it and exist like the air, without a form and without a place? (Statement Lala Nomada)


Lala Nomada 
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posted 19. Jul 2018


22. Jun 201804. Nov 2018
AFRICAN METROPOLIS. AN IMAGINARY CITY A detailed overview of the artistic and cultural scene of the African continent. 22.06.2018 - 04.11.2018 curated by Simon Njami and co-curated by Elena Motisi MAXXI is dedicating a major exhibition to the African continent: the project, realised in collaboration with the Ministry of Foreign Affairs and International Cooperation, will present the works of 34 artists reflecting on the on-going social and cultural transformations. Through five chapters, the exhibition presents the complex structure of a metropolis in which the urban space is seen as a location for the coming together of diverse experiences in which tradition and contemporaneity dialogue. The exhibition also features a commissioning project with the production of new site specific works and projects. The artists involved include: Bili Bidjocka, Meschac Gaba, Hassan Hajjaj, Youssef Limoud, Alex Mawimbi and James Webb. Akinbode Akinbiyi, Heba Y. Amin, El Anatsui, Joël Andrianomearisoa, Abdulrazaq Awofeso, Sammy Baloji, Bili Bidjocka, Mimi Cherono Ng’ok, Godfried Donkor, Franck Abd-Bakar Fanny, Meschac Gaba, Lucas Gabriel, François-Xavier Gbré, Simon Gush, Hassan Hajjaj, Nicholas Hlobo, Délio Jasse, Samson Kambalu, Kiluanji Kia Henda, Abdoulaye Konaté, Lamine Badian Kouyaté (Xuly.Bët), Youssef Limoud, Onyis Martin, Lavar Munroe, Hassan Musa, Paul Onditi, PEFURA, Pascale Marthine Tayou, Antoine Tempé, Andrew Tshabangu, Sarah Waiswa, Ouattara Watts, James Webb, Amina Zoubir
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posted 18. Jul 2018

Lee Bul: Crashing

30. May 201819. Aug 2018
Lee Bul Crashing May 30–August 19, 2018 "I want to get across a sense of walking through time, through different periods. My works are a kind of journey to another place, another time. We travel, but the stories are in the landscape and you can see that it’s always the same place." –Lee Bul For the past three decades, Lee Bul (b. 1964, Seoul, South Korea) has explored questions of intimacy, gender, technology and class—as well as the tension between despair and hope, horror and beauty—through works that range from provocative guerrilla performances, to large-scale installations that attempt to get our body and our brain "working at the same time, together." Taking over the entire Hayward Gallery, Lee Bul: Crashing brings together more than 100 works from the late 1980s to the present day, including a number of new sculptures and a site-specific commission, in order to explore the full range of her pioneering, thought-provoking and highly inventive practice. Shaped by her experience of growing up in South Korea during a period of political upheaval, much of Lee Bul’s work is concerned with trauma, and the way that idealism or the pursuit of perfection—bodily, political or aesthetic—might lead to failure, or disaster. Questioning women’s place in society, particularly Korean society, she also addresses the ways in which popular culture—in both the East and West—informs and shapes our idea of "feminine" beauty. Setting out to "mix things together, conceptually and also materially," Lee Bul draws on diverse sources that include science fiction, 20th century history, philosophy and personal experience, whilst making use of deliberately "clashing" materials that range from the organic to the industrial, from silk and mother of pearl, to fibreglass and silicone. Since the early 2000s, she has focused on architectural utopianism, bringing together references to both real and imagined architecture in sprawling sculptures of futuristic cityscapes. At the core of her most recent work is an investigation into landscape, which for the artist includes the intimate landscape of the body, ideal or fictional landscapes, and the physical world that surrounds us. Opening with the artist’s iconic Cyborg, Monster and Anagram series, Lee Bul: Crashing features documentation of her early performances, seminal works such as Majestic Splendor (1991–2018)—an installation consisting of rotting, sequinned fish—and the pivotal Live Forever III (2001), which acts as a bridge between her early figurative works and the later installations. Also on display, some for the first time, are the artist’s paintings and wall pieces, along with drawings and architectural models that illuminate the way that her three-dimensional works are developed. The exhibition culminates with the monumental Willing To Be Vulnerable – Metalized Balloon (2015–16), suspended above a mirrored floor in Hayward’s light-filled upper galleries. This colossal sculpture—which references the 1937 Hindenburg disaster—is at once aspirational and optimistic, and concerned with technological failure, fragmentation and destruction. It is accompanied by the artist’s new intricate sculptural work Scale of Tongue (2017–18), which makes subtle reference to the Sewol Ferry Disaster of 2014. For this exhibition, which coincides with Hayward Gallery’s 50th anniversary in July, Lee Bul treats the gallery’s architecture not as a backdrop but a collaborator. An ambitious, site-specific commission Weep into stones (2017–18) responds to both the fabric of the Hayward and its radical design by draping the building in a shimmering curtain of fine steel wire, crystal and glass. Tour dates September 29 2018–January 13, 2019 Gropius Bau Niederkirchnerstraße 7 10963 Berlin Lee Bul: Crashing is curated by Stephanie Rosenthal, Director, Gropius Bau, Berlin with Eimear Martin, Associate Curator and Bindi Vora, Curatorial Assistant. The accompanying catalogue surveys 30 years of Lee Bul’s work and features an interview with the artist, essays by Michaël Amy, Yeon Shim Chung, Laura Colombino and Stephanie Rosenthal, as well as supplementary texts that detail Korea’s divided history and the development of post-war women’s movements in South Korea.


Lee Bul 
Hayward Gallery, London

Southbank Centre | Belvedere Road
SE1 8XZ London

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posted 17. Jul 2018

Otium#3 Jean-Marie Perdrix | Linda Sanchez | Dane Mitchell

21. Jun 201809. Sep 2018
Otium#3 Jean-Marie Perdrix | Linda Sanchez | Dane Mitchell 21.06.2018 - 09.09.2018 Curator: Nathalie Ergino Assisted by: Juliette Tyran The IAC, having placed research at the heart of its activities since its creation, becomes, from time to time, a space for the Otium, an intermediary lapse of time conducive to thinking, meditation and awareness. The gardens, like the spaces inside the IAC will then be open, hosting projects that have been developed in an elsewhere, that will become, for the length of a summer, a here. Otium#3 collects the work of three artists, Jean-Marie Perdrix, Linda Sanchez, Dane Mitchell, who each have in common this idea of seizing matter as the foundation of their work. Mineral, organic and cosmic matter, volatile and in movement, is explored by each one of these artists, experimenting with its possibilities in different ways. Approached in a cosmomorphic manner, this matter is as much an issue of human activities as of nature, since such a distinction no longer has any meaning. Seeking consistency, these artists use experiments and experiences as a way of producing their artistic forms. It is in this way that they intend to create and establish links with the environment, as if to intensify their relationship with what is. - Jean-Marie Perdrix Imagined in close connection with their production sites, the artworks of Jean-Marie Perdrix take the experience of a territory as their primary source. In the areas surrounding the foundries of Georgia, Serbia, Korea, Mexico and for the last 20 years, Burkina Faso, Perdrix has collected totemic objects, skulls, animal pelts, household waste and other scraps, that he makes into the matrixes of his transformations. Taking a similar approach to that of an anthropologist, the artist has based his research on the significant relics of the natural, social and cultural environment that he moves through. Attentive to social and economic flows, over the course of his practice he has developed a tightly controlled repertoire, populated by tools or junk, having the common denominator of their local, organic and utilitarian dimensions. With his sculptures of “lost flesh” that are modeled after animals that have been slaughtered for the food industry, Perdrix has established a practice on the edges of craftsmanship. Through the creation of the co-operative Yamba-D (Ouagadougou), with his network of bronze smiths, he has implemented a production of objects that are normally made from wood, using melted plastic waste. Sweeping aside any order of domination between cultural, ritual, symbolic and utilitarian practices, the processes used by Perdrix challenge us with burning questions, where anxiety concerning the exhaustion of vital resources can be seen and read. His artworks, charged with a massive physicality, with a powerful alchemy, exude energy and fighting strength. - Linda Sanchez The IAC and Linda Sanchez have forged an active relationship for quite some time now. From her solo exhibition in the context of Galeries Nomades in 2007 to her participation in the Space Brain Laboratory since 2016, it is this constant exchange around questions of matter, flow and space-time that has lead today to the presentation of a first personal exhibition at the IAC. The sculptural, graphic and video work of Linda Sanchez draws its material origins from the very heart of water, sand, clay, lichen and also from physical phenomena that sometimes fixes them in place, while other times it sets them in motion. Constrained by that which envelopes or fragilizes, models or dissolves it, matter is experimented with, with neither fascination nor preciosity, and the movement is captured using different systems of observation and measurement (transversal cuts, use of a specific apparatus for capturing, grading and framing). Seeking the point of rupture, the artworks of Linda Sanchez create situations for logics that are a priori opposed, creating tension between them. For example in La Détente, a structure that consists of a tarpaulin that has been stretched vertically, onto which the artist poured wet clay, that was destined to dry out and fall off, Linda Sanchez plays with the antagonism that exists between verticality and horizontality, construction and destruction. Beyond all logic, her work materializes a rare and contingent time : that of coincidence, an inexplicable moment where everything may find meaning and where the consistency of things becomes palpable. The work of Linda Sanchez crystallizes this unexpected encounter, of calculation and unpredictability, where everything topples over and where everything is held together. - Dane Mitchell The work of New Zealand/Aotearoa artist Dane Mitchell probes elusive zones, transitions between materiality and immateriality, intuition and knowledge, absence and presence. Based on natural elements (light, rain, vapor), his research tends to transcend our manner of perceiving these manifestations and to explore the limits of our perceptions. Refined and discrete, Mitchell’s artworks emerge from an attempt to capture and fix organic, fleeting substances. Sometimes accompanied by scientific apparatus (parabola, pumps, equipment for making measurements), sometimes transformed (metal alloys, perfume), the materials employed are subjected to a number of experiments by way of subtle sensorial systems (vaporization of an odor, occultation of sight, lures) or through their reconfiguration in space (contextual shifts, play with scale). Starting with these interventions, Mitchell plays with scientific principles that are based on vision, the permanence of matter and our objective understandings of the physical phenomena that we experience in everyday life. With a lightness in manner, he diverts and reuses scientific vocabulary to keep our discernment at a distance and arouse our imagination.

artists & participants

Dane Mitchell,  Jean-Marie Perdrix,  Linda Sanchez 
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posted 16. Jul 2018

Sarah Sze

08. Jun 201828. Jul 2018
Sarah Sze 08.06.2018 - 28.07.2018 An exhibition featuring two new site-specific works: Images in Debris, an installation of images, light, sound, film, and objects, that seeks to transform the visitor's perception and experience of the first-floor gallery; and Afterimage, an environment of wall-based works in the ground-floor gallery that replicates aspects of the artist’s studio and includes elements made in situ as well as images collected, gathered and discarded in the process of making the work. In both works Sze continues her decades-long exploration of the ways in which the proliferation of images – printed in magazines and newspapers, gleaned from the Web and television, intercepted from outer space, and ultimately imprinted on our conscious and unconscious selves – fundamentally changes our relationship to physical objects, memories and time. Constellatory, monumental, intimate and immersive, Images in Debris, 2018, is the latest iteration of a major series of sculptures that study the image in motion. Begun in 2015, this series includes Timekeeper, first shown at Rose Art Museum, Massachusetts, in 2016 and subsequently at Copenhagen Contemporary in 2017, and Centrifuge, Sze’s site-specific installation for the Middle Hall of Haus der Kunst, Munich (on view until 12 August 2018). In these expansive works, Sze explores our sense of time, place and distance, and the construction of memory, through the never-ending stream of images – personal, searched, researched and found ­– that we negotiate daily. While Sze has worked with moving image since the late-1990s, these installations represent an evolution in her practice, where light, movement, images and architecture coalesce into a single, precarious equilibrium. Simultaneously a sculptural installation and a functional projection tool, Images in Debris lends equal weight to images and objects, breaking out of the flat screen into the space of architecture, and experimenting with the edges between the two. At its centre is an L-shaped desk, inspired by the artist’s own studio desk, which, acting like a projector at the centre of a planetarium, casts images on to torn sheets of paper attached to an intricate structure built on the desktop, and across the gallery walls. Moving and scanning the architecture at different speeds, the work unfolds like a series of experiments that seem to alter our sense of gravity, scale and time. Sze’s work has often referred to instruments of measure and mapping as well as the worlds they strive to evaluate. Part constellation, part debris field – a place of both networked and fractured relationships – Images in Debris is analytic of the ways in which we experience the image-saturated contemporary world. Poised at the intersection of the material and the virtual, it offers multiple screens or windows on to moments by turns public and private. The imagery itself – much of it shot on the artist’s iPhone – often points to its own materiality or changes in material state. A forest burns. Water spills or splashes – a reference to Harold Edgerton’s famous 1936 photograph Milk-Drop Coronet and to the earlier experiments of Muybridge and Marey. Edits, meanwhile, draw attention to processes of decay or transformation in a virtual sense – succumbing to pixilation, becoming ghostly like digital ‘snow’. In tandem, altered states of consciousness are suggested by imagery such as the motif of a child asleep. Within the slow loop of the imagery – so long that repeats take days rather than hours – beginnings and endings are willfully suspended. Here, Sze applies to sculpture the filmic idea of the edit, where meaning occurs in the splice, and the viewer, moving through the space, creates their own narrative arc. In the ground floor gallery Sze debuts the first iteration of her ongoing project, Afterimage, which explores how images function as tools to make sense of the world. Comprised of multiple layers of paint, ink, paper, pencil, prints, objects, and wood, this new body of work, like Images in Debris, both re-frames and refracts the collision of images we are confronted with daily. The title, referring to the effect where an image continues to appear in our vision after exposure to the original image has ceased, also alludes to the filmic idea of the persistence of vision, where the afterimage fills in the gaps between film frames, setting still images into motion in our perception and memory. Sze will complete much of this work on site, using the gallery walls as an active location to map, dissect, and construct images, laying bare the generative narrative of the studio as a live event. The process of how images are generated, collected, appropriated and developed to create other images is evident in the range of materials and paraphernalia on the walls. The wall becomes a place of experimentation where ideas in their conception are mapped out to create images. Traces of multiple image-making mediums are layered in the work, such as the ghost images of etching, the skidding surface of silkscreen printing, the layering cuts of collage, the dripping and brushing of paint, the exposure by light of photographs, the digital disturbance of computer processing, and the flickering movement of film. Circling the circumference of the gallery, the constellations of images shift in scale, fade, disappear, re-emerge, creating a storyboard of how an image is burned into memory and persists over time. Sarah Sze represented the United States at the Venice Biennale in 2013 and was awarded a MacArthur Fellowship in 2003. The artist has exhibited in museums worldwide, and her works are held in the permanent collections of prominent institutions, including The Museum of Modern Art, the Guggenheim Museum, and the Whitney Museum of American Art, New York; The Fondation Cartier, Paris; The Museum of Contemporary Art, Chicago; The San Francisco Museum of Modern Art; and the Museum of Modern Art, Los Angeles. Sze’s work has been featured in The Whitney Biennial (2000), the Carnegie International (1999) and several international biennials, including Berlin (1998), Guangzhou (2015), Liverpool (2008), Lyon (2009), São Paulo (2002), and Venice (1999, 2013, and 2015). Sze has also created public works for the High Line in New York, and subsequently the city’s Second Avenue Subway Station; the Massachusetts Institute of Technology; and the Walker Art Center in Minneapolis. Centrifuge, a major commission by Haus der Kunst, Munich, occupies the museum’s Middle Hall until 12 August 2018. Sze was born in Boston, Massachusetts and lives and works in New York.


Sarah Sze 
Victoria Miro, London

16 Wharf Road
N1 7RW London

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posted 15. Jul 2018

Bernd und Hilla Becher. Bergwerke

04. May 201816. Sep 2018
Bernd und Hilla Becher. Bergwerke Kunst & Kohle Ein Ausstellungsprojekt der RuhrKunstMuseen 04.05.2018 - 16.09.2018 Die Ausstellung ist Teil des Projekts Kunst & Kohle der RuhrKunstMuseen, an dem sich 17 Museen der Region beteiligen. Mit der Schließung der Bottroper Zeche Prosper Haniel in diesem Jahr kommt die 250-jährige Geschichte des Kohlebergbaus in Deutschland an ihr Ende. Zu diesem historisch bedeutsamen Anlass zeigt das Josef Albers Museum Quadrat eine breit angelegte Ausstellung der Fotografen Bernd und Hilla Becher, die sich ihren Bildern von Zechenanlagen in Deutschland, Europa und den USA widmet. Bernd und Hilla Becher (1931 – 2007 / 1934 – 2015) begannen bereits Anfang der 60er Jahre, Bergwerks- und Hüttenanlagen, deren Großgeräte und Funktionsbauten, zu fotografieren. Viele dieser Anlagen fielen schon bald dem Abriss anheim. Legendär ist etwa das Engagement der Bechers für die Zeche Zollern in Dortmund. In einer gemeinsamen Kampagne mit Denkmalschützern konnte die Zeche Anfang der 70er Jahre vor dem Untergang bewahrt werden. Das Datum markierte den Beginn eines neuen Bewusstseins für den historischen und künstlerischen Wert von Industriearchitektur. Gleichwohl ist die Arbeit der Bechers nicht von einer dokumentarischen Perspektive allein bestimmt. Ihre Bilder eröffnen zugleich einen ästhetischen Horizont, der das Sichtbare verwandelt. Das Zweckmäßige der Dinge scheint ihnen eine eigene Authentizität zu verleihen, Schönheit wird zu einer Funktion des Nützlichen. Es geht in diesen Bildern auch um eine formale Pointierung: um Licht, Ausschnitt und den Standpunkt der Kamera. So gewinnt das Gespräch der Dinge miteinander ein Eigenleben, das sie fast surreal erscheinen lassen kann. In den Worten der Künstler: „Es sind im wesentlichen Bauten, bei denen Anonymität als Stilprinzip erkennbar wird. Ihre Eigentümlichkeiten sind nicht trotz, sondern wegen des Mangels an Gestaltung entstanden.“ (1970) Gerade angesichts der besonderen Verbundenheit von Bernd und Hilla Becher mit dem Ruhrgebiet und seiner Schwerindustrie, wo sie seit Beginn ihrer Arbeit tätig waren, ist diese Ausstellung ein würdiger Beitrag zum Thema Kunst & Kohle. Die Ausstellung wird gefördert durch den Sparkassen-Kulturfonds des Deutschen Sparkassen- und Giroverbandes und den Sparkassenverband Westfalen-Lippe. Kunst & Kohle – Ein Ausstellungsprojekt der RuhrKunstMuseen Wenn im Jahre 2018 die Steinkohleförderung in Deutschland ausläuft, endet damit mehr als ein bedeutender Industriezweig: Das Kapitel einer über 250 Jahre andauernden Geschichte, die insbesondere das Gesicht des Ruhrgebiets, das Selbstverständnis seiner Bewohner und die Entstehung seiner einmaligen Kunst- und Kulturlandschaft geprägt hat, schließt. Die RuhrKunstMuseen widmen sich mit einem gemeinsamen Ausstellungsprojekt diesem bedeutsamen Einschnitt. Sie werfen damit nicht nur die Frage nach der kulturellen Dimension dieses Ereignisses auf, sondern reflektieren mitunter auch die mit der Industrialisierung der Region so eng verwobenen Entstehungsgeschichten ihrer Häuser. 17 RuhrKunstMuseen nehmen den Kohleausstieg zum Anlass für das größte städteübergreifende Ausstellungsprojekt, das je zu diesem Thema umgesetzt wurde. In 13 Städten werden von Mai bis September 2018 zeitgleich über die gesamte Region hinweg künstlerische Positionen gezeigt, die sich auf unterschiedliche Art und Weise mit dem Thema „Kohle“ auseinandersetzen. Die Einbindung kulturhistorischer Exponate wird dabei ebenso eine Rolle spielen, wie die Präsentation künstlerischer Tendenzen und neuer Werke, die sich mit Zukunftsvisionen und Utopien befassen. Die von der Industrie geprägte Landschaft, die Beförderung der Kohle an die Erdoberfläche unter härtesten körperlichen Bedingungen, das Material Kohle an sich, der unprätentiöse und solidarische Menschenschlag, der Strukturwandel – all diese Facetten des Ruhrgebiets inspirieren und faszinieren Künstlerinnen und Künstler seit jeher. Nun sollen wiederkehrende inhaltliche und formale Elemente der Kunstwerke die einzelnen Ausstellungsorte zu einem großen Ganzen verbinden. Ein umfangreiches Vermittlungsprogramm und Begleitveranstaltungen rahmen das Projekt, das dank der großzügigen Unterstützung der RAG Stiftung, der Brost-Stiftung, dem Ministerium für Wirtschaft, Innovation, Digitalisierung und Energie sowie dem Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen und der Kunststiftung NRW realisiert werden kann.
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posted 14. Jul 2018

Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art

13. Jul 201830. Sep 2018
Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art 13.07.2018 - 30.09.2018 Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art investigates contemporary art practices that preserve and foreground Indigenous American notions of the built environment and natural world. The three words in the exhibition’s title are Quechua, the Indigenous language most spoken in the Americas. Each holds more than one meaning: pacha denotes universe, time, space, nature, or world; llaqta signifies place, country, community, or town; and wasichay means to build or to construct a house. Influenced by the richness of these concepts, the artworks explore the conceptual frameworks inherited from, and also still alive in, Indigenous groups in Mexico and South America that include the Quechua, Aymara, Maya, Aztec, and Taíno, among others. The show features the work of seven emerging Latinx artists based in the United States and Puerto Rico: william cordova, Livia Corona Benjamín, Jorge González, Guadalupe Maravilla, Claudia Peña Salinas, Ronny Quevedo, and Clarissa Tossin. Their works investigate the complex relationship that indigenous and vernacular notions of construction, land, space, and cosmology have had in the history of modern and contemporary art and architecture in the Americas. This exhibition is organized by Marcela Guerrero, assistant curator, with Alana Hernandez, curatorial project assistant.
Whitney Museum of American Art, New York °

99 Gansevoort Street
NY 10014 New York

United States of Americashow map
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posted 13. Jul 2018

Riga International Biennial Of Contemporary Art 2018

02. Jun 201828. Oct 2018
Riga International Biennial Of Contemporary Art (RIBOCA1) "Everything Was Forever, Until It Was No More" 02.06.2018 - 28.10.2018 The 1st Riga Biennial (RIBOCA1) is pleased to announce the appointment of Kolektivs (Zane Zajančkauska & Ilze Kalnbērziņa Praz) as curators of its public programme, and Solvej Helweg Ovesen as associate curator. Entitled Everything Was Forever Until It Was No More, RIBOCA1 will open to the public on the June 2, 2018. The chief curator of the biennial is Katerina Gregos. Zane Zajančkauska is a curator, based in Riga. Recently, she co-curated You’ve Got 1243 Unread Messages, at the Latvian National Museum of Art (2017–18), she has also been developing the exhibition programme for the National Library of Latvia and public programme events for the Latvian Center for Contemporary arts and ABLV Charitable Foundation. Previously she collaborated with the director Christine Umpfenbach on the performance Lost Gardens and on the project KAFIČ with artist and architect Apolonija Šusteršič. Zajančkauska obtained her MA in Arts at the Latvian Academy of Culture after completing studies in Political Science; she has also completed the Robert Bosch Stiftung qualification programme in culture management, including one year curatorial praxis at the Galerie für Zeitgenössische Kunst, Leipzig. Ilze Kalnbērziņa Praz studied product design at the University of art and design ECAL (École Cantonale d'Art de Lausanne), as well as anthropology and philosophy at the University of Lausanne and at Saint-Louis University, Brussels. She worked as a designer for H2E design bureau in Riga as well as heading the visual communication and exhibition design department at the National Library of Latvia. She also created and curated Aristids, a cultural space in Riga. Last year she received the National Design Award of Latvia. The RIBOCA public programme, which will run until November this year, encompasses performances, talks, debates, symposia, workshops, film screenings and other events. It will establish relationships in the city, inviting international guests to connect with local communities, testing what knowledge can be shared and what interactions set in motion. A series of discussions and debates by leading cultural practitioners and intellectuals as well as a film programme will further explore the themes of Biennial: the speed of change and our ability to adapt to it; the boundaries of the human and the non-human; accelerationism and the impact of new technologies and flows of information. Solvej Helweg Ovesen obtained her MA in Arts and Cultural Studies from Copenhagen University and also completed De Appel Curatorial Training Program in Amsterdam in 2003. Since 2015 she is artistic director of Galerie Wedding - Raum für Zeitgenössiche Kunst in Berlin where she curated solo exhibitions with, among others, Henrike Nauman, Sol Calero, Stine Marie Jacobsen, Viron Erol Vert, Emeka Ogboh, Ahmet Ögut, Mariana Castillo Deball, Dafna Maimon, and Simon Fujiwara as part of the projects Post-Otherness Wedding (2015–16) and Unsustainable Privileges (2017–18) in collaboration with Bonaventure Soh Bejeng Ndikung. In 2017, she was a member of the consortium of curators behind the exhibition of Kirstine Roepstorff Influenza - Theatre of Glowing Darkness for the Danish Pavilion at the 57th Venice Biennale. She was also curator-in-chief of the Arctic-African performance festival “Songs of a Melting Iceberg - Displaced without Moving,” Nordwind 2017, Berlin. In 2015/2016 she curated the IMAGES 2016 art project An Age of our Own Making with Bonaventure Soh Bejeng Ndikung, in Denmark. Ovesen is the founding director of Grosses Treffen, a yearly professional networking event for Nordic artists and curators and online archive with 800 Nordic artists’ profiles realized in collaboration with and at the Nordic Embassies, Berlin (2013–17). In 2011, Solvej Helweg Ovesen and Katerina Gregos co-curated the 4th Fotofestival Mannheim Heidelberg Ludwigshafen, The Eye is a Lonely Hunter. For the biennial, Ovesen is curating one of the eight venues, Dubulti Art Station, among other things. The exhibition, the Sensorium, will focus on the sum of the human organism’s perceptive tools—creating moments that trigger the senses (other than vision) that have been marginalized, allowing for a much-needed deceleration of perception. * The 1st Riga Biennial, Everything Was Forever Until It Was No More, will open to the public on the June 2, 2018. Chief curator: Katerina Gregos. Change is a constant and imperceptible process. Nothing remains the same yet it often feels as if things are fixed, solid certainties. Change operates in strange ways. Until recently—and excluding those more rare radical moments of personal, social or political transformation—change appeared to creep up on us slowly. But then, one day we wake up and experience a sudden break in consciousness. It abruptly dawns on us that our world has changed beyond recognition. We have been thrust into the future, unwittingly. In recent years, since the advent of the technological revolution, our world seems to be ever accelerating and transforming. The 1st Riga Biennial biennial will reflect on the phenomenon of change—how it is anticipated, experienced, grasped, assimilated and dealt with at this time of momentous transitions. The title, Everything Was Forever, Until it Was No More, is borrowed from Alexei Yurchak’s book of the same name. Yurchak discusses the collapse of the Soviet Union and one particular characteristic that defined it: the sense that although the Soviet system felt permanent and immutable, its demise was at the same time perceived as completely natural. The shock of being thrust into a new order came only later. The title of his book suggests the slippery nature of change; the fact that what might seem eternal can suddenly come to an end. It resonates in the entire post-Soviet sphere, but can also be seen as a potent metaphor for our own era. "Ta panta rhei" (everything flows) the ancient Greek philosopher Heraclitus pointed out, meaning that everything is constantly changing, from the smallest organic particle to the whole universe. He asserted that only change itself is real, constant and in eternal flux, like the continuous flow of the river, which always renews itself and only appears to be staying the same over time. Humanity seems to be at a watershed, propelled forward at great speed by technological change, new practices of daily life that seem to occur in a flash and radical ideas that are becoming mainstream. Yet more and more of us—old and young—have trouble keeping up with incessant, overwhelming flows of information and the increasing acceleration of our lives and work. Though this condition has become normalised in most areas of life, and differs from place to place, few seem to question it or are able to resist it. We often tend to forget that evolution, which allows for adaptation to new conditions, has been an extremely slow process. Nevertheless, within 300 years we’ve had to adapt to habitats, practices and amenities that bear no resemblance to what our ancestors experienced for thousands of years. In this time, the world has been dominated by humanism. The seeming mastery of man over the planet means that the world is likely to change beyond recognition in this century. The present is defined by epochal shifts and changes, which are at once both exciting and frightening. The Baltic region itself has become the locus of political and economic restructuring, identity renegotiation and global reintegration and Riga thus forms a perfect backdrop from which to consider these issues. From the personal to the political, the social to the ecological, and the philosophical to the existential, the exhibition will probe how contemporary artists are responding to some of the major challenges of the day, how they register change, and how they imagine the future. Many of these changes have radically altered the way we experience the world as well as time and have undermined—or overridden—all of our senses except vision. A part of the exhibition will also thus refocus on the sensorium—the sum of the human organism’s perceptive tools—creating moments that trigger the senses that have been marginalised, allowing for a much-needed deceleration of perception. Summoning ghosts from the future and recalling prophets from the past, the biennial will reflect on our anxious present and pinpoint the tectonic shifts that are taking place in the public as well as private realm today. Participating artists ASI* (The Agency of Singular Investigations), Russia (founded 2014) / Alexis Blake, USA/Netherlands (b. 1981) / Alexis Destoop, Belgium/Australia (b. 1971) / Adrián Villar Rojas, Argentina (b. 1980) / Andrejs Strokins*, Latvia (b. 1984) / Andris Eglītis*, Latvia (b. 1981) / Annaïk-Lou Pitteloud, Switzerland/Belgium (b. 1980) / Anne Duk Hee Jordan, Korea/Germany (b. 1978) / Ariane Loze*, Belgium (b. 1988) / Aslan Gaisumov, Chechnya, Russia (b. 1991) / Augustas Serapinas*, Lithuania (b. 1990) / Clemens von Wedemeyer*, Germany (b. 1974) / Danilo Correale, Italy/USA (b. 1982) / Diana Lelonek, Poland (b. 1988) / Diāna Tamane*, Latvia/Belgium (b. 1986) / Emilija Škarnulytė, Lithuania/Germany (b. 1987) / Erik Kessels*, Netherlands (b. 1966) / Ēriks Apaļais, Latvia (b. 1981) / Eve Kiiler, Estonia, (b. 1960) / Femke Herregraven*, Netherlands (b. 1982) / Fernando Sánchez Castillo, Spain (b. 1970) / Han Hoogerbrugge, Netherlands (b. 1963) / Hannah Anbert*, Denmark (b. 1984) / Hans Rosenström*, Finland (b. 1978) / Henrike Naumann*, Germany (b. 1984) / IC-98, Finland (founded 1998) / Ieva Balode, Latvia (b. 1987) / Ieva Epnere*, Latvia (b. 1977) / Indrė Šerpytytė*, Lithuania/UK (b. 1983) / Ivar Veermäe, Estonia/Germany (b. 1982) / Jacob Kirkegaard, Denmark (b. 1975) / James Beckett, Zimbabwe/Netherlands (b. 1977) / Jani Ruscica, Finland (b. 1978) / Johanna Gustafsson-Fürst, Sweden (b. 1973) / Johannes Heldén, Sweden (b. 1978) & Håkan Jonson, Sweden (b. 1978) / Jonas Mekas, Lithuania/USA (b. 1922) / Julian Charrière, Switzerland/Germany (b. 1987) / Julian Rosefeldt, Germany (b. 1965) / Julijonas Urbonas, Lithuania (b. 1981) / Karel Koplimets*, Estonia (b. 1986) / Katarzyna Przezwańska, Poland (b. 1984) / Katrīna Neiburga*, Latvia (b. 1978) / Kerstin Hamilton*, Sweden (b. 1978) / Kristaps Epners*, Latvia (b. 1976) / Kustaa Saksi, Netherlands (b. 1975) / Liina Siib*, Estonia (b. 1963) / Lynn Hershman-Leeson, USA (b. 1941) / Maarten Vanden Eynde*, Belgium (b. 1977) / Marco Montiel-Soto, Venezuela/Germany (b. 1976) / Marge Monko*, Estonia (b. 1976) / Marina Pinsky*, Russia/Belgium (b. 1986) / Marisa Benjamim, Portugal/Germany (b. 1981) / Mark Dion*, USA (b. 1961) / Maryam Jafri, Pakistan/USA (b. 1972) / Melanie Bonajo, Netherlands, (b. 1978) / Michael Landy*, UK (b. 1963) / Michael Sailstorfer*, Germany (b. 1979) / Minna Rainio & Mark Roberts, Finland/UK (b. 1974, b. 1970) / Nabil Boutros, Egypt/France (1954) / Nedko Solakov*, Bulgaria (b. 1957) / Nicolas Kozakis, Greece/Belgium (b. 1967) & Raoul Vaneigem, Belgium (b. 1934) / Nikos Navridis*, Greece (b. 1958) / Oswaldo Maciá*, Colombia/UK (b. 1960) / Orbita, Latvia (founded 1999) / Paulis Liepa*, Latvia (b. 1978) / Petra Bauer, Sweden (b. 1970) & Rebecka Katz-Thor*, Sweden (b. 1982) / Robert Kuśmirowski*, Poland (b. 1973) / Sandra Kosorotova*, Estonia (b. 1984) / Sasha Huber, Switzerland/Finland (b. 1975) & Petri Saarikko*, Finland (b. 1973) / Saskia Holmkvist*, Sweden (b. 1971) / Sissel Tolaas*, Norway/Germany (b. 1963) / Sputnik photos*, Poland/Slovakia/Belarus (founded 2006 in Poland) / Stelios Faitakis*, Greece (b. 1976) / Stine-Marie Jacobsen*, Denmark (b. 1977) / Sven Johne, Germany (b. 1976) / Taus Makhacheva*, Dagestan, Russia (b. 1983) / Teemu Korpela*, Finland (b. 1980) / Tilman Wendland*, Germany (b. 1969) / Tobias Zielony*, Germany (b. 1973) / Trevor Paglen, USA (b. 1974) / Valio Tchenkov*, Bulgaria/Germany (b. 1966) / Vladimir Svetlov, Latvia (b. 1973) / Viron Erol Vert*, Turkey/Germany (b. 1975) / Jevgeni Zolotko*, Estonia (b. 1983) / Žilvinas Landzbergas*, Lithuania (b. 1979) *An asterisk denotes a new commission
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posted 12. Jul 2018

Based on True Events. Roman Ondak. Lovis-Corinth-Preis 2018

19. May 201809. Sep 2018
opening: 18. May 2018 19:00
Based on True Events. Roman Ondak. Lovis-Corinth-Preis 2018 19.05.2018 - 09.09.2018 Eröffnung: Freitag, 18.05.2018 19:00 Uhr "Based on True Events" nennt der Slowakische Konzeptkünstler Roman Ondak seine Ausstellung, die am 18. Mai im Kunstforum Ostdeutsche Galerie Regensburg eröffnet. Roman Ondak (*1966) setzt sich hier mit den aktuellen gesellschaftlichen und politischen Unwägbarkeiten auseinander. "Nach wahren Begebenheiten", verheißt der Titel der Schau, doch in unserer Welt der Fake News, alternativen und Post-Fakten ist dieses Versprechen verstörend geworden. Was ist denn wahr und wer bestimmt, was Wahrheit ist? Und welchen Abstand zur Realität umschreibt das Wort "nach"? Roman Ondaks Konzeptkunst stellte schon immer solch unbequeme Fragen, nun ist sie aktueller denn je. In den Mittelpunkt der Präsentation in Regensburg stellt Ondak zwei bedeutende Werke der letzten Jahre. Mit "New Observations" (1995/2018), die er erstmals zeigt, knüpft er an seinen documenta-Beitrag "Observations" (1995/2011) an. Beides sind Serien von Fotografien, die er einem sechzig Jahre alten Lehrbuch menschlicher Kommunikation entnommen hat. Ihrem ursprünglichen Kontext entzogen entpuppen sich die Fotos und Bildunterschriften als pseudowissenschaftlich und ungewollt komisch. Die Rauminstallation "Signature" (2014) zeigt die geschätzte Schreibmaschine aus Ondaks Kindertagen - zerlegt in fünfzig Einzeltteile. Der Künstler seziert seine Vergangenheit und fügt sie in neuer Form zusammen. Neben bekannten Arbeiten wie dem Film "Lucky Day" (2006) zeigt die Ausstellung auch neue Meisterwerke wie "Perfect Society" (2018) und "Planets I-X" (2016-18). Ausgehend von sehr persönlichen Eindrücken - Objekten wie Erlebnissen - erschafft Roman Ondak Arbeiten, die klug und zugleich universell verständlich und zugänglich sind. Für seine humanistischen Idealen verpflichtete, global gültige Kunst erhält er den Lovis-Corinth-Preis 2018. Der Kunst-Preis, benannt nach dem Maler Lovis Corinth, wurde 1974 von der KünstlerGilde e.V. begründet und ist an das Kunstforum Ostdeutsche Galerie gebunden. Seit 2006 erfolgt die Preisvergabe im Zweijahresrhythmus, seit 2016 ist das KOG der alleinige Auslober. Sie richtet sich an Bildende Künstlerinnen und Künstler (Malerei, Grafik, Skulptur, Installation, Fotografie, Neue Medien), deren Werk in der Zugehörigkeit zur Gegenwartskunst im östlichen Europa sowie in der Auseinandersetzung mit dieser entstanden ist oder die deutsche Kunst in den historischen deutschen Kulturlandschaften reflektiert. Die Verleihung erfolgt in Würdigung eines international bedeutenden Gesamtwerks, das für die Entwicklung zeitgenössischer Ausdrucksformen einen relevanten Beitrag leistet.


Roman Ondak 
Kunstforum Ostdeutsche Galerie, Regensburg

Dr.-Johann-Maier-Straße 5
93049 Regensburg

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posted 11. Jul 2018

Willkommen im Labyrinth. Künstlerische Irreführungen

23. Jun 201823. Sep 2018
Willkommen im Labyrinth. Künstlerische Irreführungen 23.06.2018 – 23.09.2018 Das Verborgene und Rätselhafte befremdet und fasziniert zugleich. Obwohl es oft nicht leicht scheint, Irritationen und visuelle Irreführungen auszuhalten, kann es durchaus Genuss und Offenbarung sein, sich in unerwarteten Strukturen zu verlieren. Mit sechs großformatigen Rauminstallationen, die das Museumsgebäude zum Teil tiefgreifend verändern, eröffnet diese Ausstellung ein sinnliches Erlebnis ganz eigener Prägung. Vom Ornament über den Barockgarten bis zum Spiegelkabinett – als bewusste räumliche Irreführungen dienen Labyrinthe oftmals der Unterhaltung. Obwohl sie die Orientierung nehmen, beruhen sie auf einer geheimen Ordnung, die sich vielfach erst aus der Vogelperspektive offenbart. Der Verlust von Übersichtlichkeit scheint in einer globalisierten Welt ein allgegenwärtiges, existentielles Thema. Das Labyrinthische beschäftigt daher verstärkt auch zeitgenössische KünstlerInnen – ganz gleich ob als Symbol für einen Lebensweg, als Abbild städtebaulicher Strukturen oder als Metapher für den hoch dynamischen Datenverkehr. Für die Ausstellung verwandeln sie kritisch und lustvoll das Innere des Museums in einen inspirierenden Parcours, der das Labyrinthische als meditative Denkfigur präsentiert und sich zugleich als die Sinne herausfordernde Körpererfahrung darstellt. KünstlerInnen Anne Hardy, Peter Kogler, Christian Odzuck, Royden Rabinowitch, Chiharu Shiota, Song Dong
MARTa Herford

Goebenstr. 4-10
32052 Herford

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posted 10. Jul 2018

UnSeen: Our Past in a New Light, Ken Gonzales-Day and Titus Kaphar

23. Mar 201806. Jan 2019
UnSeen: Our Past in a New Light, Ken Gonzales-Day and Titus Kaphar 23.03.2018 - 06.01.2019 The exhibition highlights the work of two leading contemporary artists who grapple with the under- and misrepresentation of certain minorities in portraiture and American history. Gonzales-Day and Kaphar illuminate the contributions and sacrifices people of color made during the country’s founding. Kaphar defaces, cuts, and peels back his paintings to show how portraits of American historical figures, such as Thomas Jefferson and Andrew Jackson, have traditionally coded racial difference, hid systemic prejudices, and omitted the presence of African Americans. Gonzales-Day photographs portrait busts, sculptures, and ethnographic casts in European and American museums to create installations that reveal how scientific studies, artistic conventions, and collecting tendencies have reinforced inappropriate notions of race and “Otherness.” Together, the work of these two artists will demonstrate how the absence of certain figures and communities in art has preempted their recognition in national history, and, in the process, will reclaim a space for them in the art historical context. The Portrait Gallery curators for this exhibition are Curator of Painting and Sculpture and Latino Art and History, Taína Caragol, and Curator of Prints, Drawings and Media Arts, Asma Naeem.

artists & participants

Ken Gonzales-Day,  Titus Kaphar 
Smithsonian National Portrait Gallery, Washington

Victor Building / Suite 4100 MRC 973

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posted 09. Jul 2018


26. Jun 201831. Jul 2018
opening: 26. Jun 2018
APICHATPONG WEERASETHAKUL. Fiction 26.06.2018 - 31.07.2018 Opening: 26.06.2018 The Galería Elba Benítez is pleased to announce the coming exhibition of work by Apichatpong Weerasethakul, the highly-acclaimed Thai film-maker and visual artista, opening June 26th. Entitled Fiction the exhibition will present works in various media that will offer an overview of the artist’s nuanced and multifaceted practice. Works on view will include a series of collage-based prints and sketches that explore a porously liminal zone between fact and fiction; a new video installation, created specifically for the gallery, that overlays human and photographic perceptions of reality; and a set of short videos that display the artist’s oneiric artistic vision. Apichatpong Weerasethakul (Thailand, 1970) has developed a lyrical and innovative cinematic technique that is rooted in the cultural traditions and social issues of his native Thailand and yet fully inscribed in the ongoing history of avant-garde film. While fundamentally a story-teller, Apichatpong’s narratives are often fractured and non-linear, moving freely within a realm of memories, dreams, spirits and time-travel. In addition to his films, Apichatpong has developed a parallel practice as a visual artist, with installations, photographs, performances and mixed-media works having been exhibited at museums and contemporary art events around the world. San Lorenzo, 11 - 28004 Madrid +34 91 308 0468 info@elbabenitez.com elbabenitez.com Apichatpong has had solo exhibitions at the Oklahoma City Museum of Art (2018), the Contemporary Art Centre (CAC) (Vilnius, 2018); the Museum of Contemporary Art and Design (MCAD) (Manila, 2017); Volksbühne (Berlin, 2017); the Sullivan Galleries of the Art, Institute of Chicago (2017); Tate Modern (London, 2016); Para Site (Hong Kong, 2016); Top Museum (Tokyo, 2016); Asian Arts Theatre (Gwangju, 2015); HangarBicocca (Milan, 2013); the Stenersen Museum (Oslo, 2012); the Irish Museum of Modern Art (Dublin, 2011); the New Museum (New York, 2011); Haus der Kunst (Munich, 2009) and the Musée d'art moderne de la Ville de Paris (2009). His work has been included in numerous biennials and art events, including the 11th Sharjah Biennial (2013), where it received the Sharjah Biennial Prize; dOCUMENTA 13 (2012); the 3rd Guangzhou Triennial (2008); the 5th Asia Pacific Triennial of Contemporary Art (APT5) (2006); and the Taipei Biennial 2004. His films have achieved widespread recognition and critical acclaim, and have twice been awarded prizes at the Cannes Film Festival, including the Palme d’Or in 2010. He has also been awarded the Fukuoka Prize (2013) and the Yanghyun Art Prize (2014.) His work forms part of collections at museums such as the Tate Modern (London), MoMA (New York), Busan Museum of Art or the Musée d'art moderne de la Ville de Paris. Fiction is organized in conjunction with the Anthony Reynolds Gallery of London.
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posted 08. Jul 2018


10. May 201816. Sep 2018
NASCA. IM ZEICHEN DER GÖTTER Archäologische Entdeckungen aus der Wüste Perus 10.05.2018 - 16.09.2018 Neuste archäologische Funde erzählen von der faszinierenden, untergegangenen südamerikanischen Kultur der Nasca, die geprägt war von Ritualen, Kunst, hochentwickeltem Handwerk, Musik und dem Leben in einer der extremsten Klimaregionen unseres Planeten. Für Archäologinnen und Archäologen ist die Nasca-Kultur ein ganz besonderes Abenteuer. Seit der Einwanderung des Menschen in Amerika – wahrscheinlich zwischen 18000 und 14000 v. Chr., als bei der Beringstraße aufgrund eines tief liegenden Meeresspiegels eine Landbrücke bestand (das Wasser war während der Eiszeit in den Gletschern gebunden) – entstanden in Amerika Kulturen, die nicht mit den eurasischen Zivilisationen in Verbindung standen. Die Nasca hinterließen keine Schriftzeugnisse, jedoch eine Bildsprache auf Textilien, Keramiken und dem Wüstenboden – die geheimnisvollen Nasca-Linien, die zum UNESCO-Weltkulturerbe gehören. Sie entwickelten eine höchst komplexe Lebensweise mit fremdartig erscheinenden Ritualen und Kunstwerken, die zum großartigsten und qualitätvollsten archäologischen Erbe der Welt gehören. Es gibt wohl keine prähispanische Kultur, die farbenprächtigere Keramiken und Textilien hinterließ.

Friedrich-Ebert-Allee 4
53113 Bonn

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posted 07. Jul 2018


20. Apr 201829. Jul 2018
STILL MOVING: THE FILMS AND PHOTOGRAPHS OF ULRIKE OTTINGER 20.04.2018 - 29.07.2018 Hunterian Art Gallery Admission free This solo exhibition profiles the influential filmmaker and artist Ulrike Ottinger, whose work has rarely been exhibited in the UK. Still Moving features a range of Ottinger’s photographic prints and some short film works. This is the first solo exhibition of Ulrike Ottinger’s films and photographs to take place in a UK art gallery and is part of Glasgow International Festival of Visual Art 2018. A special programme of screenings of her feature-length work accompanies the exhibition during the Festival (20 April – 8 May).
Hunterian, Glasgow

University Avenue
G12 8QQ Glasgow

United Kingdom of Great Britain and Northern Irelandshow map
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posted 06. Jul 2018

Joncquil und Warffemius

24. Jun 201812. Aug 2018
opening: 24. Jun 2018 17:00
Joncquil und Warffemius Aktuelle Positionen aus den Niederlanden 24.06.2018 - 12.08.2018 Eröffnung der Ausstellung ist am Sonntag, den 24. Juni 2018, um 17 Uhr. Es sprechen: Hubertus von der Goltz, Vorstand Kunstverein KunstHaus Potsdam e.V., Einführung durch Frau Dr. habil. Rosa von der Schulenburg, Leiterin der Kunstsammlung der Akademie der Künste, Berlin. Die Künstler sind anwesend. In Kooperation mit der Galerie Helga Hofman, Alphen aan den Rijn, Niederlande. Reduktionen, Abstraktionen von Alltäglichem und Natürlichem, Kombinationen und Dopplungen, Aufspüren von Parallelen und deren Sichtbarmachung als formale Essenzen – das sind nur einige Parameter der künstlerischen Arbeit von Joncquil und Piet Warffemius. Zwei Künstler, zwei Generationen und mindestens zwei künstlerische Medien: Malerei/Zeichnung und Skulptur. Beide Künstler sind in den Niederlanden geboren und leben in Den Haag. Zum ersten Mal zeigen sie im Kunstverein KunstHaus Potsdam ihre Werke gemeinsam und schaffen einen frischen wie subtilen Blick auf unsere profane Welt.

artists & participants

Joncquil,  Piet Warffemius 
Kunstverein Kunsthaus Potsdam

14469 Potsdam

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posted 05. Jul 2018

Nicholas Bussmann____Amelica

01. Jul 201816. Sep 2018
opening: 30. Jun 2018 18:00
Nicholas Bussmann____Amelica 01.07.2018 - 16.09.2018 Eröffnung: Sa, 30.06.2018 18:00 Uhr Kuratiert von Nina Tabassomi Zwei Videos stellen sich im Foyer in den Weg. Sie zeigen, wie ein Schaffner einen Kol­legen anlernt: die Verkörperung von Gesten des Handelns und des Zuschauens und ihre wechselseitige Übertragung von einer Person zur anderen (Video No. 2, 2007). Die Eingangssituation zur Ausstellung ist so verwandelt, dass sie in eine Weggabelung mündet: auf der einen Seite eine Spielstätte mit Sandkästen, Requisiten und dem grellen Aufruf, eine Welt zu bauen, wie dessen anagrammatischen Varianten (Wanderdünen, 2018). Auf der anderen Seite ein verwaister Tanzraum, durch den die „besten House-Riffs für Klavier“ im Nebel geistern (Amelica, 2018). Im Video Etüde in bürgerlichen Gefühlen (2009) arbeitet sich Nicholas Bussmann an Stimmungen, am Stimmen und an seiner eigenen Stimme ab. Ein Wikipedia-Eintrag zu Dialekten wird in einem YouTube-Video von einer computer­generierten Stimme für Sehbehinderte verlesen, für Gehörlose wird das Gesprochene wiederum in geschriebenen Text umgewandelt. Wir sehen eine abgefilmte Dokumentation davon (A language is a dialect with an army, 2017). Ein automatisierter Flügel spielt Revolutionslieder – ohne Hände, ohne Stimmen. Es leuch­ten dazu die Lyrics auf Karaoke-LEDs (Revolution Songs in an AI Environment, 2017). Welcher Spielraum entsteht beim wiederholten Wiederholen einer Wiederholung, im Adaptieren von Adaptionen, welche wirksame Energie beim Zusammenklingen und Zu­sammenprallen von nicht zur Deckung kommenden Systemen, Formationen und Subjek­ten? Was passiert beim Versuch, Algorithmen zu rhythmisieren? Welche Form hat ein Koordinatensystem ohne Ursprung? Nicholas Bussmann spielt im TAXISPALAIS mit dem Hier und Jetzt. In jedem Augenblick figuriert etwas Vorgängiges. Zwangsläufig und lustvoll stellt sich die Frage, ob es mög­lich ist, diese Figuration im Moment zu gestalten. In der ersten Einzelausstellung von Nicholas Bussmann begegnen wir mimetischen Über­nahmen in Musik, Installation, Video und Gesellschaftsspiel. Die Bezugsrahmen ab­ge­steck­ter Gebiete werden dabei angetastet. Abarbeiten, Abfeiern und Abgesang akkordieren in einer improvisierten Allianz. * Eigens für die Ausstellung entsteht unter anderem die Installation und das Gesell­schaftsspiel WANDERDÜNEN. Am Eröffnungswochenende wird diese Arbeit von 14 Spielleiter_innen und Musiker_innen aktiviert: WANDERDÜNEN Sa, 30. Juni, durchgängig 18–20.30 Uhr So, 1. Juli, durchgängig 15–18 Uhr Gesellschaftsspiel mit Nicholas Bussmann, Philippe Cerf, Lucile Desamory, Yusuf Ergün, Michael Guggenheim, Margareth Kammerer, Rudi Katholnig, Rico Lee, Laura Mello, Eduard Mont de Palol, Konstantin Schimanowski, Simone Schönett, Aaron Snyder und Helga Utz I LIKE MARINA ABRAMOVIC AND MARINA ABRAMOVIC LIKES ME (Nicholas Bussmann) + KAPITAL BAND 1 (Nicholas Bussmann & Martin Brandlmayr) Do, 13. September, 19 Uhr Performance und Konzert


Nina Tabassomi 
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posted 04. Jul 2018

Raphaela Vogel. Gipsy King Kong

30. Jun 201809. Sep 2018
opening: 29. Jun 2018
Raphaela Vogel. Gipsy King Kong 30.06.2018 - 09.09.2018 Kuratoren: Milena Mercer, Jolanda Bozzetti Laute, verzerrte Musik, im Rhythmus pulsierende Videomontagen, Bilder in Bildern, riesige Metallgerüste mit ornamentalen Bordüren und bemaltes Leder an der Wand. Raphaela Vogel (*1988) ist eine Virtuosin der Inszenierung, eine kühne Träumerin mit radikaler Ästhetik – und gebürtige Fränkin. Für ihre Videos lässt sie an Drohnen montierte Actionkameras wie lebendige Wesen in schwindelerregenden Höhen über karge Landschaften, weidende Schafherden oder in ihrem Atelier herumkreisen. Sie selbst steht häufig als Protagonistin im Fokus ihrer Geschichten. Die Interaktion zwischen ihr und der Technik wirkt einmal spielerisch wie ein Tanz, einmal bedrohlich wie ein Kampf. Sie inszeniert sich ungeniert, scheint zuweilen verzweifelt, zerbrechlich, anmutig oder aggressiv. Die energiegeladenen Videos sind von ungewöhnlichen Perspektiven, Spiegelungen, Verzerrungen und Wiederholungen geprägt. Der durchdringende Sound wechselt von ohrenbetäubendem Heavy Metal zum rhythmischen Schlagen eines Herzens hin zu den spanischen Gitarrensounds der Gipsy Kings. Die Videos werden Teil von raumgreifenden Installationen. Mit feinem Gespür für die umgebende Architektur inszeniert Vogel ihre Arbeiten. Hightech trifft auf archaisch anmutende Artefakte und banale Alltagsgegenstände. Beamer, Melkzeug und bemalte Ziegenfelle kombiniert sie mit Pissoirs und Aschenbechern. Die Vieldeutigkeit und überwältigende Ästhetik machen einen Besuch einer Raphaela-Vogel-Ausstellung immer zu einem Abenteuer. Erstmals kehrt die Künstlerin nun mit einer Einzelausstellung in ihre Heimatregion zurück und lädt zum Eintauchen in ihren Kosmos ein. Zur Ausstellung erscheint im Herbst 2018 ein umfangreicher Katalog mit Texten von Patrizia Dander, Hans Christian Dany, Elena Filipovic, Michael Hakimi, Milena Mercer, sowie einem Interview von Tenzing Barshee mit Raphaela Vogel, Verlag Walter König, Preis ca. 35 Euro. Die Künstlerin: 1988 in Nürnberg geboren lebt und arbeitet in Berlin 2009-2012 Akademie der Bildenden Künste in Nürnberg, Meisterstudium bei Prof. Michael Hakimi 2011-2014 Staatliche Hochschule für Bildende Künste–Städelschule, Frankfurt am Main, Meisterstudium bei Prof. Peter Fischli Ausstellungen (Auswahl): 2018 Kunsthalle Basel (E), TARS Gallery, Bangkok, Leopold-Hoesch-Museum Düren (E) 2017 Volksbühne Berlin (E), Art Chapel, Amsterdam, Kunstverein Hannover 2016 Westfälischer Kunstverein Münster (E), Motorenhalle, riesa efau, Dresden (E), BQ Galerie, Berlin (E) 2015 Bonner Kunstverein (E) (E) Einzelausstellung Preise und Auszeichnungen (Auswahl): 2016-2018 Förderstipendium der Günter-Peill-Stiftung, Leopold-Hoesch-Museum, Düren 2015 Columbus-Förderpreis für aktuelle Kunst in Kooperation mit der ADKV 2014-2016 Atelierstipendium de Ateliers, Amsterdam Kuratorinnen: Milena Mercer, Kommissarische Leitung Kunstpalais &Städtische Sammlung Erlangen Jolanda Bozzetti, Kuratorische Sammlungsbetreung Kunstpalais & Städtische Sammlung Erlangen
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posted 03. Jul 2018


02. Jun 201819. Aug 2018
opening: 02. Jun 2018 14:00
VON FREMDEN LÄNDERN IN EIGENEN STÄDTEN 02.06.2018 - 19.08.2018 ERÖFFNUNG : 02.06.2018 14:00 mit Katharina Sieverding, Neïl Beloufa, Ines Doujak, Natascha Sadr Haghighian, Andreas Siekmann, Manuel Graf, Paloma Varga Weisz, Christine & Irene Hohenbüchler, John Miller, Christian Odzuck, Pola Sieverding, Fari Shams, Maximiliane Baumgartner, Alex Wissel, Palina Vetter, Mira Mann, Sean Mullan, Isabella Fürnkäs, Jan Hoeft, Tor des Orients Rund um den Düsseldorfer Hauptbahnhof realisiert sich ein letzter Moment urbanen Lebens in seiner ganzen Härte, Heterogenität und Schönheit. Das Viertel gilt als letzter unerforschter urbaner Raum der Stadt, der aktuell nach seiner Zukunft sucht. Als zentraler Empfangsort und virulente Schnittstelle zwischen Welt, Ort und Eigenem ist das Quartier geprägt durch dysfunktionale Stadträume, passantenfeindliche Verkehrskonzepte und eine Architektur der 80er Jahre, der jedes menschliche Maß zu fehlen scheint. Gerade hier haben sich zahllose verborgene kulturelle und subkulturelle Qualitäten widerwillig, subversiv und widerständig eingerichtet. Das Projekt „Von fremden Ländern in eigenen Städten“ geht als großes interdisziplinäres Kunst- und Kulturprojekt mit Akteuren aus Bildender Kunst, Theater, Tanz, Film und Musik, besonders aber mit den Anwohnern und Aktiven vor Ort auf die Suche nach dieser Zukunft, die aktuell durch große stadtplanerische Transformationsprozesse bestimmt wird. Nach einem umfangreichen Programm im Jahr 2017 zeigt das Projekt 2018 in einer groß angelegten Ausstellung im öffentlichen Raum neue Perspektiven auf diesen heterogenen Stadtraum. Unter der Leitung von MAP entstehen zahlreiche kontextbezogene Kunstprojekte sowie ein umfangreiches Veranstaltungsprogramm mit Theater,- Tanz-, und Medienprojekten in Kooperation mit verschiedenen Partnern und den Anliegern des Quartiers. Markus Ambach * ERÖFFNUNG 2. Juni ab 14 Uhr 14 UHR BEGRÜSSUNG UND EINFÜHRUNG, Platz vor dem Central, Worringer Straße 140 Thomas Geisel, Oberbürgermeister der Landeshauptstadt Düsseldorf und Schirmherr des Projekts Dr. Ursula Sinnreich, Generalsekretärin, Kunststiftung NRW Wilfried Schulz, Generalintendant, Düsseldorfer Schauspielhaus EINFÜHRUNG: Markus Ambach, Projektleiter und Kurator der Ausstellung 15 UHR GEFÜHRTE TOUR DURCH DIE AUSSTELLUNG Treffpunkt: Platz vor dem Central, Worringer Straße 140 14–18 UHR OFFENER RUNDGANG MIT VERSCHIEDENEN PROGRAMMPUNKTEN 16–18 UHR KULINARISCHES AUS DER GULASCHKANONE bei „Ultra ex Orbit“, vor Immermannstraße 65 16 UHR TRANSLOKALE, geführter Rundgang mit Jan Wagner / Filmwerkstatt Düsseldorf, Treffpunkt: Kafaii Kopie, Friedrich-Ebert-Straße 19 17 UHR JAN LEMITZ, „ensembles + Pflanzbestände“ / FFT Düsseldorf, Preview, Botschaft, Worringer Platz 4 17 UHR WUNDERKAMMERN DES QUARTIERS, Bahnhofsmission Düsseldorf / Quartiersprojekt Stadtmitte / Christine und Irene Hohenbüchler, Eröffnungsempfang, Immermannhof 68, Karlstraße / Ecke Friedrich-Ebert-Straße 17 UHR KAI RHEINECK, „Befund Relax“, Gasthof am Worringer Platz, Worringer Platz 1 18–23 UHR ERÖFFNUNG AUSSTELLUNGSZENTRUM, Bertha-von-Suttner-Platz 1 18 UHR „WIE WAR’S?“, Gesprächsrunde mit Künstlerinnen und Künstlern der Ausstellung, Get-together, Drinks, Musik 19 UHR MAKI MASAMOTO, Arien und Lieder aus Europa und Japan, Begleitung: Prof. Klaus Michael Leifeld 23 UHR MANUEL GRAF, „AY SHAY“, Bertha-von-Suttner-Platz, Situation 23:00


Markus Ambach 
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posted 02. Jul 2018


25. Jun 201811. Aug 2018
opening: 25. Jun 2018 18:00
LAND OF LADS. LAND OF LASHES ROSEMARIE CASTORO, WANDA CZELKOWSKA, LYDIA OKUMURA 25.06.2018 - 11.08.2018 Opening Monday 25.06.2018 18:00-20:00 CURATED BY ANKE KEMPKES Land of Lads, Land of Lashes presents, for the first time in the UK, seminal sculptures and paintings of three female artists of 1960s and 1970s Minimal and Post-Minimal art who broke the artistic boundaries of the period: Rosemarie Castoro introduced surreal and sexual connotations to the cool, mathematical rigour of Minimalism; Lydia Okumura expanded the tradition of the Brazilian geometric avant-garde with her multi-dimensional abstract environments; and Wanda Czelkowska challenged artistic traditions by fusing anthropomorphic sculpture with brutalist, industrial structures. All three artists created an avant-garde inside the avant-garde, transcending the idea of one style in favour of radical experimentation. Guest curated by Anke Kempkes, a leading expert in the field of female avant-garde art, this landmark London exhibition spanning Ropac's entire gallery marks a further turning point at which female artists pioneered new art movements and subverted the avant-garde language of the time. While their male contemporaries – including Carl Andre, Donald Judd and Sol LeWitt – rose to international prominence, these revolutionary female artists were not afforded the same visibility and institutional support. Only now, in today’s shifting political and cultural landscape, is their ground-breaking work receiving widespread critical acclaim and greater recognition. All three artists have received their first major retrospectives within the last two years. The Museum of Contemporary Art, Barcelona, staged Rosemarie Castoro. Focus at Infinity in 2017, Okumura received her first touring US retrospective in 2016, starting at UB Art Galleries, Buffalo, and Czelkowska’s first museum retrospective took place at the National Museum in Warsaw, also in 2016. Each of the three artists emerged from distinct cultural geographies: Castoro was one of the few female protagonists of the 1960s Minimal art scene in New York; Okumura, born to Japanese parents in São Paulo, challenged the 1960s Brazilian movement of Concretism; Czelkowska created her first sculptures as a student in 1950s Communist Poland during the last days of Stalinism. The exhibition focuses on works that break through geographic and stylistic boundaries, setting into motion a cultural dialogue between New York, São Paulo and Warsaw. Expanding the traditional understanding of the history of Minimalist and Post Minimalist art, their work shares a visionary engagement with scale and the experimental use of raw industrial materials, creating radical interventions in the gallery space. The show’s title references two pivotal sculptures created by Rosemarie Castoro in the 1970s: Land of Lads and Land of Lashes - the latter presenting a parade of giant epoxy eyelashes. The exhibition also prominently includes Lydia Okumura’s optical walk-in sculpture Labyrinth - a two-metre high installation of woven wire mesh - first realised at the Museu de Arte Moderna, São Paulo in 1984, and Wanda Czelkowska’s drawing in a space Ellipse, comprising a five-metre-wide aluminium structure that arcs through the gallery. “Modern sculpture’s use of industrial materials evokes a decidedly romantic notion of masculine middle class labor, one that artists like Jackson Pollock and Carl Andre used to posit themselves as the artistic “everyman.” This is why, perhaps more so than any other artistic medium, sculpture is wrought with gendered nuances and contradictions.” Between Force and Fragility: Lydia Okumura and the gendered nuances of Minimalist sculpture by Scotti Hill, 2017 ROSEMARIE CASTORO (1939-2015) A central figure of New York’s 1960s Minimal and Conceptual Art scene, Castoro worked side-by-side with her then partner and fellow artist Carl Andre in their shared Soho studio. She became involved in dance while at the Pratt Institute and, although she subsequently turned to painting, her work exhibits a dancer’s understanding of space. Her early paintings explored sophisticated colour compositions and structural innovations and later developed into freestanding, multi-panel monochromatic works that occupy the space between painting and sculpture. Her imposing Free-Standing Walls and Giant Brushstrokes were first exhibited at Tibor de Nagy Gallery in New York in 1970. With a broom she began to paint the grey-scale surfaces of these sculptures with an impasto of graphite and gesso, creating intensely dynamic gestural paintings protruding from the walls. Among her wall reliefs are those based on short-hand symbols for the initials of artist friends and peers, including the diptych Guinnes Martin, 1972, dedicated to Agnes Martin. LYDIA OKUMURA (b. 1948) Born in São Paulo in 1948 to a Japanese family, Okumura’s interest in art was awakened by her father, a prominent calligrapher. In the 1970s, influenced by the new art movements in Japan and America, she initiated the first Conceptual Art show in Brazil with fellow students at the Museum of Contemporary Art, São Paulo. In 1973, she had an international break-through at the São Paulo Biennial with Points of View, an abstract environment created collectively with her artist peers from Equipe3. Following the show, American art critic Gregory Battock encouraged Okumura to move to New York, where she still lives and works. In New York, Okumura began developing her “Situations”, site-specific geometric installations composed from colour fields and string that project into space from the walls and floor, exploring the optical interplay between two- and three-dimensional structures. Okumura collaborated with Sol LeWitt during her early years in New York, and her work can be seen as an intriguing parallel to that of the American Minimalist Fred Sandback. “With minimum intervention, I tested beyond the realms of physical limitation and discovered that geometric language was an intelligent way to express simple, clean, concise, truthful, harmonious, conceptual ideas. I understood it was okay to make art in a spontaneous way, using the minimum necessary in order to express an idea.” Lydia Okumura in “Geometric Language, an Interview with Lydia Okumura About Her Not-So-Straight-Line to Artistic Prominence”, by Cynthia Garcia in Newcity Brazil, 2017 WANDA CZELKOWSKA (b. 1930) Wanda Czelkowska created her first sculptures and industrial constructions in 1950s Communist Poland, as a student in Krakow during the last days of Stalinism. She began her career by collaborating with the renowned modernist sculptor Xawery Dunikowski on monumental Socialist sculpture commissions, but rebelled against the strictures of Socialist aesthetics. Her early sculptural ‘Heads’ show the influence of neo-primitivism and reappear throughout her oeuvre, sometimes abstracted, deconstructed, bisected or veiled. When asked if they are male or female, Czełkowska responded: “My Heads are a Third Gender.’” Czelkowska did not see any contradiction in shifting from expressionist figuration to the use of raw industrial material in her large-scale installations. Since the late 1970s Czelkowska has focused her work on monumental minimalist sculptures developed in reaction to a given space. Today Czelkowska lives and works surrounded by her life’s work in her 1970s factory studio in Warsaw, continually revisiting different aspects of her remarkable production of the last 50 years.


Anke Kempkes 
Thaddaeus Ropac, London

Ely House | 37 Dover Street
W1S 4NJ London

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