daily recommended exhibitions

posted 20. Sep 2018

Apartment 4: Iris Häussler and The Chipstone Foundation °

23. Jun 201816. Jun 2019
Apartment 4: Iris Häussler and The Chipstone Foundation 23.06.2018 - 16.06.2018 Biography of a woman who never was…but could have been... in Apartment 4 On October 1, 1942, Milwaukee landlord Agnes Przybylski discovered an unusual scene in the apartment she had rented 15 years prior. Although everything in the space appeared eerily untouched—just as it was on the day it was rented—a storage room in the back was crammed wildly with her tenant’s things and densely filled with art works and altered clothing. The tenant, Florence Hasard, was nowhere to be found. The John Michael Kohler Arts Center’s new exhibition Apartment 4 brings the viewer back to that moment of discovery and invites them to uncover clues to Hasard’s life. Based on a character developed by conceptual artist Iris Häussler, this exhibition combines the visual language of historic house museums with the experimental approach of the fictional biography in an exploration of the mysterious circumstances of Florence Hasard. Due to many factors, little is known about Hasard. It has been up to Häussler, in collaboration with the John Michael Kohler Arts Center (JMKAC) and the Chipstone Foundation, to piece a story together. Häussler believes Hasard was born in 1882, the only child of her unmarried mother, Jeanne Hasard. Florence grew up under modest circumstances, and left her hometown of Nogent-sur-Marne, France, at the age of 16 for Paris. There, she modeled in painters’ studios and at art schools. It is believed that during WWI, Hasard worked as a nurse at a military hospital. Confronted with the cruelty of war, she likely experienced extreme measures of trauma and depression. Although we lose track of her around 1918, records indicate that, in 1927, Hasard registered for immigration to the United States. She arrived in Milwaukee that same year and lived a modest lifestyle for 25 years. Apartment 4 offers clues to her life in Milwaukee leading up to her disappearance in 1942. As a conceptual artist, Häussler’s creative process includes blending biography, fiction, and her own art practice to build immersive installations. Häussler inserts herself, often under the guise of one of her characters, into the timelines of art history and regional history as a method of embodying her character. Oscillating in and out of her invented figures, Häussler asks questions related to her findings, offering an invitation for other parties to get involved. In developing Florence Hasard and in imagining her home, Häussler said, “I equipped her with resilience, curiosity, self-confidence and an ability to adapt to any circumstance. I made her into a passionate lover, artist model, and self-taught experimental artist much ahead of her times. In Milwaukee, her oeuvre speaks of the vulnerability of the human body, deeply informed by her traumatic experiences as a nurse in WWI. Her work reveals the inevitable resurfacing of creative energy, that art can be a vehicle through which trauma is processed, and that process does not conform to any societal norms.” For more of Florence’s story see florencehasard.org. Through this immersive experience, Apartment 4 brings to life Hasard’s lower-class status, her social life, her employment as a model and seamstress, her immigration status, and her private artistic practice. This project is a collaboration of the artist, JMKAC, and Chipstone Foundation, a leader in the field of object-based research and museum practices. Apartment 4 is set in the Italianate home built by John Michael Kohler in 1883. The gallery space serves as the site for the Art Center’s newest exhibition program, the Open House Project. Artists and organizations are invited to collaborate and experiment with ideas of history, source material, contemporary practices, and site specificity. This exhibition is supported by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts. Funding was also provided by Chipstone Foundation, Kohler Trust for the Arts and Education, Kohler Foundation, Inc., and the Frederic Cornell Kohler Charitable Trust.
John Michael Kohler Arts Center, Sheboygan

608 New York Ave.
WI 53081 Sheboygan

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posted 19. Sep 2018

Lutz Bacher – What's Love Got to Do With It

07. Sep 201806. Jan 2019
opening: 06. Sep 2018 19:00
Lutz Bacher – What's Love Got to Do With It 07.09.2018 – 06.01.2019 K21 Ständehaus (Bel Etage) Eröffnung: 06.09.2018 19:00 Uhr Die US-amerikanische Künstlerin Lutz Bacher, die ihre Identität seit Beginn ihrer Laufbahn hinter einem männlichen Pseudonym verbirgt, arbeitet konzeptuell in verschiedenen Medien. Seit den 1970er Jahren stützt sich die lange in Kalifornien und mittlerweile in New York lebende Künstlerin in ihren Arbeiten auf Fundobjekte und Bildmaterial der Popkultur. Fotos aus Werbekampagnen, Auszüge aus Pornoheften und unbearbeitete Handyvideos finden ebenso Eingang in ihre Werke wie ausrangierte Objekte der Warenwelt. Durch Neuordnungen, Verzerrungen und Entfremdung destabilisiert Bacher die Erscheinung und Ausdrucksweise ihres Materials, erzeugt Brüche und ermöglicht neue Konstellationen. Die Medialisierung des Alltags, Fragen der Identität sowie die Auseinandersetzung mit Macht, Gewalt und Sexualität stehen dabei im Zentrum. In ihrer ersten musealen Einzelausstellung in Deutschland vereint Bacher Skulptur, Video und Sound zu einer raumgreifenden Gesamtinstallation.

artist

Lutz Bacher 
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posted 18. Sep 2018

Everything Is Connected: Art and Conspiracy

18. Sep 201806. Jan 2019
**exhibition location: The Met Breuer, Floor 4** For the last 50 years, artists have explored the hidden operations of power and the symbiotic suspicion between the government and its citizens. Opening at The Met Breuer on September 18, Everything Is Connected: Art and Conspiracy will be the first major exhibition to tackle this perennially provocative topic. Covering the period from 1969 to 2016 and featuring 70 works by 30 artists working in a range of media—from painting and sculpture to photography, video, and installation art—Everything Is Connected will present an alternate history of postwar and contemporary art that is also an archaeology of our troubled times. The exhibition is made possible by Andrea Krantz and Harvey Sawikin. Additional support is provided by James and Vivian Zelter. There are incontrovertible aspects of the postwar period that created a fertile ground for the figure of conspiracy to loom so large. Foremost among these is the dramatic expansion in size and complexity of Western democracies and their attendant bureaucracies. Accordingly, the exhibition will focus on conspiracy in the West and stops short of the 2016 U.S. presidential election. Tracing the simultaneous development of two kinds of art about conspiracy that form two sides of the same coin, the exhibition will be divided into two parts. The first is comprised of works by artists who hew strictly to the public record, uncovering hidden webs of deceit—from the shell corporations of New York’s then largest private landlord to the vast, interconnected networks encompassing politicians, businessmen, and arms dealers. The second part will feature artists who dive headlong into the fever dreams of the disaffected, creating fantastical works that nevertheless uncover uncomfortable truths in an age of information overload and weakened trust in institutions. Despite the timeliness of the topic, Everything Is Connected was conceived in 2010, inspired by a 1991 interview between John Miller (American, born 1954) and the late Mike Kelley (American, 1954–2012), both of whose works are featured in the exhibition. In the interview, they discuss the paucity of serious writing on the subject (to that date) before listing the artists, both in their circle and from earlier, who address it in their work. The Met curators reviewed an early version of the checklist with Kelley, who expressed his enthusiasm for the project as long overdue as well as making recommendations that were adopted into the final checklist. Many of the featured artists occupy tangential if not adversarial positions in relation to the movements with which they are commonly associated. By injecting the relatively apolitical styles of Pop, Conceptualism, and Appropriation Art with the normally veiled or repressed real-world content that invisibly shapes experience, they take a less passive and ironic and more proactive stance against the consumerism, bureaucracies, and mass media that are the inescapable givens of modern life. The exhibition will be accompanied by the installation Jane and Louise Wilson: Stasi City on view in the Joyce and Robert Menschel Hall for Modern Photography at The Met Fifth Avenue from September 18, 2018 through March 31, 2019. Jane and Louise Wilson’s (British, born 1967) Stasi City (1997) is widely considered one of the most important works of video art of the last half-century, advancing the medium to a newly theatrical and immersive experience. Filmed during a fellowship in Berlin in 1996, this four-channel video installation is a dizzying tour of the former headquarters of the East German secret police (Staatssicherheit) housed behind a nondescript row of buildings in the former East Berlin. Everything Is Connected: Art and Conspiracy is curated by Doug Eklund, Curator in the Department of Photographs, and Ian Alteveer, Aaron I. Fleischman Curator, Department of Modern and Contemporary Art, with assistance from Meredith Brown, Research Associate in the Department of Modern and Contemporary Art, and Beth Saunders, Assistant Curator in the Department of Photographs, all at The Met. The exhibition will be accompanied by a catalogue published by The Met and distributed by Yale University Press. The catalogue is made possible by the Samuel I. Newhouse Foundation, Inc.
Metropolitan Museum of Art, New York

1000 Fifth Avenue at 82nd Street
NY-10028 New York

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posted 17. Sep 2018

HAUNT THE FUTURE

08. Sep 201830. Sep 2018
opening: 07. Sep 2018 18:00
Okey Dokey 2018 Hosting RE/Search Publications, San Francisco HAUNT THE FUTURE Organised by Brian Moran & Jamie Stevens 08.09.2018 - 30.09.2018 Opening Friday, 07.09.2018 18:00 21:00 “I want to make photographs that kill,” once proclaimed Charles Gatewood (b. 1942, Elgin, IL; d. 2016, San Francisco, CA), who was a photographer that sought after and documented the areas of American subculture that few felt comfortable in, much less publish, and who revelled in the areas that broke beyond the borders of convention. From the mid-1960s to his death in 2016, Gatewood’s photographs become synonymous with the shifty, the sadistic and sexual, and the outsider punk culture which grew in the darkened areas of a country that was undergoing incredible change and revolution. Mike Kuchar (b. 1942, New York, NY) has been making films for more than 60 years, but he has always remained an illustrator. Remarking that films “should have sex appeal . . . it helps making it bearable to watch,” the illustrations of Kuchar go right to the pulsing heart of sex; in saturated colours and erotic compositions that would make St. Theresa in Ecstasy blush, Kuchar’s drawings are revelations in homosexual spirituality. As one-half of the Kuchar Brothers, with his twin George, the two pioneered and established a legacy within the underground film world of New York in the 1960s that has since shaped both the city’s, as well as country’s, identity of queerness and dark comedy. Anne McGuire (b. Minnesota, USA) has been making films that combine equally the intensely private with the intensely revealing. Extolling, demonstrating, and entrancing through performance and the editing of her films, the work by McGuire focuses centrally on one person’s experiences: herself, but through lens both teasing and seductive while also perplexing and misleading. In Joe DiMaggio 1,2,3 (1991), McGuire begins by recording a luck sighting of the baseball legend in the San Francisco marina. As the video progresses in its parts—from following covertly to stalking, singing songs for her affection to the man, to reflection on her experience later while focusing on driving—the film charts a progression of desire and hysteria, initiated by chance and circumstance. Brian Moran (b. 1978, Los Angeles, CA) is an artist and draftsman-as-researcher. Since 2005, Moran’s ongoing project, Engineering Consent, an iterative series focusing on the points of intersection between marketing and psychoanalyses, has explored the histories of market forces and active public participations through sculpture, works on paper, and primary documents. Thinking to Herman and Chomsky’s “Manufacturing Consent”—which looked to mass media communications as the arbiter of influence to multiple publics—Moran’s project often takes the form of seemingly disconnected, non-linear material and images that, when looked at macroscopically, demonstrates a psychic symbioses between man and the market he reflects himself into. A founding member of the rebel underground film collective, No Nothing Cinema, Marian Wallace began making experimental films as a student at SFAI, studying with George Kuchar, Gunvor Nelson, and Lawrence Jordan. After receiving her MFA, she was employed at a film sound studio, going on to work on features (including mixing sound effects for "Bram Stoker's Dracula" by Francis Ford Coppola). For the past decade she's produced a monthly talk show with host, V. Vale, for public access television in San Francisco, while continuing to work on experimental films, printmaking and painting, and also co-publishing RE/Search books and zines. RE/Search Publications was founded in San Francisco in 1980 by V. Vale, and is the successor to Vale’s punk-rock fanzine, Search & Destroy, notoriously started via a $200 loan provided by Allen Ginsberg and Lawrence Ferlinghetti. In the time since its inception, RE/Search has been at the bedrock of San Francisco’s punk and counterculture movement, publishing tabloid issues on a variety of sub-current topics, and on a larger scale publishing issues on such figures as William S. Burroughs & Brion Gysin, J.G. Ballard, and Throbbing Gristle & Genesis Breyer P-Orridge. In 1988 and ’89 it published an issue devoted to “Pranks,” and successively a film on the same topic, that has since been noted as the predecessor to popular American television shows such as MTV’s Jackass and Punk’d, as well as the numerous, highlyviewed Fail Compilations on YouTube.
Jan Kaps, Köln

Jülicher Strasse 24a
50674 Cologne

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posted 16. Sep 2018

Leonor Antunes - the last days in Galliate

14. Sep 201813. Jan 2019
opening: 13. Sep 2018 19:00
Leonor Antunes - the last days in Galliate 14.09.2018 - 13.01.2019 Opening: September 13, 7–11pm Pirelli HangarBicocca presents the last days in Galliate, the first major exhibition in Italy of the work of Leonor Antunes (Lisbon, 1972), curated by Roberta Tenconi. The exhibition space has radically been redesigned as a single sculptural site, where the lighting and the works intersect with one another. A trajectory that pays tribute to Milan's Modernist tradition, and to the leading figures who contributed to its development and success, names like Franca Helg and Franco Albini. Through her sculptures Leonor Antunes reinterprets the history of art, design, and architecture of the twentieth century, and in particular the Modernist tradition, in its most radical and experimental instances. Thanks to a meticulous research into several projects and works, Antunes, after selecting specific details and fragments, transforms them into new forms and elegant artworks. Within this study process the artist ponders the historical context, the meaning of everyday objects, the social role of art and design as means of emancipation and improvement in the quality of life. The exhibition hosted at Pirelli HangarBicocca is conceived as a complex site-specific installation that fills the 1,400 square meters of the undivided space known as the Shed: the works, many of which created from scratch, converse with the architecture structural elements and natural lighting, thus merging in a single narrative. The Shed is transformed by an intervention that covers the floor with a linoleum intarsia, inspired by a design by artist Anni Albers (1899-1994), whose colours hark back to the iconic floor designed by the architect and designer Gio Ponti (1891-1979), realized in 1960 for the Pirelli skyscraper in Milan. Antunes also uses light to make sculptures and to scan time: the exceptional opening of eight skylight windows on the roof of the exhibition space brings natural zenithal lighting to inside the environment, while artificial lighting, entrusted to a series of brass lamp-sculptures—which are in turn inspired by some of Anni Albers's designs—generates intimate atmospheres of a domestic dimension. Milan and its rich Modernist tradition—in particular the work of architects Franca Helg (1920-1989) and Franco Albini (1905-1977)—are the source of great inspiration for this artist. For the exhibition, Antunes delves deep into the collaboration that took place in the 1950s and '60s between the Studio Albini-Helg and the manufacturing house Vittorio Bonacina—a historical Italian company, today known as Bonacina 1889, active in the production of furniture and other objects for the home made with rattan and rattan-core. The very title of the exhibition, the last days in Galliate, harks back to the artist's research into the work of Franca Helg, alluded to in the name of the place overlooking Lake Varese and the Alpine foothills, where Helg had planned and built a family house for her parents—one of the few examples of her building projects signed independently of her studio—and the place where she was to spend the final years of her life. However, the title also refers to another avant-garde figure, the Cuban designer Clara Porset who spent the last years of her life in the Chimalistac district of Mexico City—whose research was at the core of a former exhibition Antunes held at at the Kunsthalle in Basel in 2013, titled the last days in chimalistac. The exhibition is accompanied by a bilingual catalogue designed by the London graphic arts studio A Practice for Everyday Life (APFEL) and published by Pirelli HangarBicocca with Mousse Publishing. In addition to a rich iconographic apparatus tracing back over the various phases of study and preparation for the Milan exhibition in the photography of Heinz Peter Knes—who followed the artist around to the various site inspections required for the exhibition—in the Shed, the catalogue includes contributions by Briony Fer, Tom McDonough, Antonio Piva as well as a conversation between Leonor Antunes and Roberta Tenconi.

curator

Roberta Tenconi 
PIRELLI HANGARBICOCCA Milan °

HANGARBICOCCA | Via Chiese 2
20126 Milan

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posted 15. Sep 2018

Alma Heikkilä. Evolved in shared relationships

15. Sep 201811. Nov 2018
Alma Heikkilä. Evolved in shared relationships & Erfgoed (Agricultural Heritage and Land Use) 15.09.2018 - 11.11.2018 In what ways do we [humans] imagine, think about, and interact with the interdependence of microbial life, and how might we newly encounter “knowing” in our human–non-human entanglements toward a different way of living? Erfgoed (Agricultural Heritage and Land Use) Collective exhibition in partnership with The Outsiders and with contributions by Maria Stijger Aramburu, Bart Broeze, Britt Dorenbosch, Manne Heijman, Dohee Lee, Mr and Mrs Lin, Avan Omar, Dounia El Ouardani, Dineke Oudwijk, Leonardo Siqueira, Iet and Kees van Vuuren, Hinke Weikamp, Kesewah Ye-boah, Merel Zwarts. A large farmhouse on the remaining plot of a once-vast farmland has been neglected for over a decade until now. Located in the middle of a new urban-residential area, the farmhouse is now seen as a part of Utrecht’s agricultural heritage. Who will decide on its future and for what? Casco Art Institute: Working for the Commons presents its first biannual exhibition program at its headquarters with Evolved in shared relationships, a solo exhibition by Finnish artist Alma Heikkilä, and Erfgoed (Agricultural Heritage and Land Use), a collective exhibition for the eponymous project running at the Terwijde farmhouse. Our exhibitions open on Saturday, 15 September in conjunction with Uitfeest, the lively, two-day celebration of the new cultural season in Utrecht. Both exhibitions are organized as part of the long-term project and study line Center for Ecological (Un)learning by Casco Art Institute and the Leidsche Rijn-based interdisciplinary collective The Outsiders, and deal with one of the most fundamental dimensions of the commons: ecology. With her new mixed-media installations, Alma Heikkilä presents us with an opportunity to sense and imagine the mostly invisible microorganisms that are within and around us, while a group of artists and neighbors of the Terwijde farmhouse harvest all of the farmhouse activities from the last spring and summer to collectively reanimate the farmhouse as a site for the commons – not only for the humans but also for other non-human actors. We have faced the consequences of climate change directly and physically this summer, so understanding our ecological sphere and responding accordingly feels more urgent than ever. We hope that these double exhibitions and the program around it provide such a possibility!
Casco Art Institute, Utrecht

CASCO | Nieuwekade 213-215
NL-3511 RW Utrecht

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posted 14. Sep 2018

Kathryn Andrews

14. Sep 201826. Oct 2018
Kathryn Andrews 14.09.2018 - 26.10.2018 Simon Lee Gallery Hong Kong is pleased to announce the first solo exhibition in Asia by Los Angeles-based artist Kathryn Andrews. Presenting a new series of wall-based sculptures and one floor-based work, Andrews probes the visual contradictions of Pop Art and Minimalism, marrying the historical languages of the two movements into playful combinations that are both optically and conceptually rich. Andrews is an aesthetic flâneur of sorts, employing references to different cultural histories while using a wide variety of material processes in her work. She frequently samples and remixes historical aesthetics in order to question received values of seeing. On view, commonplace objects drawn from popular and commercial culture, such as the Magic 8-Ball, a Hershey’s chocolate bar, lollipops, candies and flowers, appear as larger-than-life imagery in highly polished and meticulously-produced pieces that upend assumptions about commodity value. The spectre of Pop Art channelled vis-à-vis these banal and kitsch objects, is interrupted by equally dominant abstract mirror forms that strongly reference Minimalism and California's Finish Fetish movement of the 1960s. Viewers are prompted to respond to the works’ representation and attendant illusionism alongside their seductive materiality and ‘thingness’.
Simon Lee, Hong Kong

304, 3F The Pedder Building, 12 Pedder Street
Hong Kong

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posted 13. Sep 2018

PERSPECTIVAS LATINAS #18

25. Aug 201831. Dec 2018
PERSPECTIVAS LATINAS #18 Arturo Herrera, Luis Camnitzer, Maria Celina Gonzalez Sueyro u.a. 25.08.2018 - 31.12.2018 Pressetermin am 22. August um 11 Uhr Eröffnung am 25. August um 18 Uhr Der Verein jugend in der galerie e.V. lädt im Anschluss an die Ausstellungseröffnung zu feurigen Snacks, temperamentvoller Musik und Getränken ein. Wolfsburg feiert in diesem Jahr sein 80-jähriges Stadtjubiläum und blickt damit auf eine vergleichsweise kurze, dennoch bewegte und rasante Geschichte zurück. Die Stadt, die 1938 in Zeiten der NS-Diktatur gegründet wurde, zeichnet sich heute durch eine breite, bunte und aktive Bürgerschaft aus, die im täglichen Zusammenleben vieler unterschiedlicher Menschen aus verschiedenen Kulturen diese Stadt mit Leben erfüllt. Die Ausstellung mit Künstlerinnen und Künstlern aus Lateinamerika unterstreicht die außerordentliche Bedeutung kultureller Vielfalt für eine fröhliche und solidarische Gemeinschaft und belegt, dass Offenheit, Neugierde und Inspiration, insbesondere in Zeiten des Auf- und Umbruchs, unverzichtbar für uns Menschen und die Gesellschaft sind. Dennis Weilmann, Dezernent für Wirtschaft, Digitales und Kultur der Stadt Wolfsburg, äußert sich folgendermaßen zur Ausstellung: „Wolfsburg ist eine offene und lebendige Stadt. Sie wird geprägt durch Menschen, die hier aufgewachsen oder zugewandert sind und über das tolerante Miteinander dieser Stadt ein Gesicht geben. Nun sind Künstlerinnen und Künstler aus Lateinamerika zu Gast und präsentieren ganz unterschiedliche Positionen einer weit entfernten Region. Wir freuen uns, dass sie damit den Facettenreichtum Wolfsburgs erweitern und die Städtische Galerie Wolfsburg zeigt wieder einmal, wie international sie mit ihren Ausstellungen aufgestellt ist.“ Arturo Herrera setzt seine collageartigen Arbeiten häufig aus Fundstücken von Flohmärkten, Motiven aus Comics, Kunstbänden, Fotoalben oder Kinderbüchern zusammen. Dabei verbindet er persönliche Erinnerungsstücke mit dem kollektiven Bildgedächtnis. So entsteht ein spannender Dialog verschiedener Kulturen und Perspektiven, die den Künstler im Verlauf seiner biografischen Stationen prägten. In der Arbeit „Track & Field“, die sich über zwei Wände des ersten Ausstellungsraumes erstreckt steht nicht die Wiedererkennbarkeit des Zeichens im Vordergrund, sondern das Malerische als eine abstrakte Ausdrucksform individueller Emotionalität und Subjektivität. Der 1959 in Caracas/Venezuela geborene Künstler kam 2003 mit einem DAAD-Stipendium nach Berlin/Deutschland, wo er seitdem lebt und arbeitet. Er studierte Kunst in Chicago/USA und lebte in New York/USA. Celina Gonzalez Sueyro, die 1976 in Mar del Plata/Argentinien geboren ist, studierte zunächst in Buenos Aires, danach an der Universität der Künste Berlin. Nach Berlin kam sie 2001 mit einem DAAD-Stipendium und pendelt nun zwischen Deutschland und Argentinien, wo sie Ausstellungsprojekte mit Lehrtätigkeiten verbindet. In der raumbezogenen Installation „The Spider and the Fly“ im zweiten Ausstellungsraum vernetzt die Künstlerin metaphorische Ebenen miteinander. Das Meer als poetisches Zitat und Brücke eröffnet den Dialog und als Bindeglied zwischen den Arbeiten schafft es eine Bedeutungsebene mit Raum für Fragen, Beziehungen und Verknüpfungen. In den Arbeiten von Celina Gonzalez Sueyro spielen außerdem der Moment, die Zeit und der Arbeitsprozess eine sichtbare Rolle. Durch die Technik der Cyanotypie schreiben sich das Licht und der Moment in ihr Werk ein. Luis Camnitzer wurde 1937 in Lübeck/Deutschland geboren, seine Familie wanderte 1939 nach Montevideo/Uruguay aus und er studierte Bildhauerei, Architektur und Druckgrafik. Der Künstler hielt sich mit verschiedenen Stipendien u.a. in Deutschland und den USA auf. 1964 zog er in die USA und lebt nun im Staat New York. Camnitzer ist Verfasser von bedeutenden kunsttheoretischen und kunsthistorischen Schriften. Als Konzeptkünstler ist sein bevorzugtes Arbeitsmittel die Schrift. Zur Ausstellung im Schloss Wolfsburg präsentiert er ein großes Banner an der Außenfassade des Südflügels mit dessen Schriftzug er sich gegen die Trennung von Kunst und Vermittlung positioniert und für das Museum als Schule des Lebens plädiert: „Ein Museum ist eine Schule: Der Künstler lernt zu kommunizieren. Das Publikum lernt Bezüge herzustellen.“ In wechselnder Folge zeigt das Museum zudem Videoarbeiten verschiedener Künstlerinnen und Künstler aus Lateinamerika wie Naufus Ramírez-Figueroa, Aníbal López, Javier Calvo oder Melissa Guevara. Eine Ausstellung in Zusammenarbeit mit der Galerie Sies + Höke, Düsseldorf und mit freundlicher Unterstützung des Lüneburgischen Landschaftsverbandes.
Städtische Galerie Wolfsburg

STÄDTISCHE GALERIE IM SCHLOSS WOLFSBURG | Schlossstraße 8
38448 Wolfsburg

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posted 12. Sep 2018

MIHAEL MILUNOVIC & MANUEL OCAMPO

12. Sep 201824. Nov 2018
opening: 12. Sep 2018 20:00
MIHAEL MILUNOVIC & MANUEL OCAMPO Double Solo Show 12.09.2018 - 24.11.2018 Opening: 12.09.2018 20:00 - 22:00 The gallery will be closed during August. We wish you a lovely summer!

artists & participants

Mihael Milunovic,  Manuel Ocampo 
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posted 11. Sep 2018

Adrian Piper

01. Sep 201814. Oct 2018
„The power of art is unlimited for social change" – bekräftigt die diesjährige Käthe-Kollwitz-Preisträgerin Adrian Piper. Mit Themen wie Geschlecht und Rasse erweiterte die amerikanische Künstlerin und analytische Philosophin das Spektrum der Konzeptkunst und des Minimalismus der ersten Generation und hinterfragt damals wie heute die politischen Bedingungen für die Produktionsprozesse von Kunst, deren Rezeption und Bedeutung. Sie vermeidet in ihren Werken eine elitäre Kunstsprache und versucht Situationen herzustellen, in denen die Betrachterinnen und Betrachter unmittelbar reagieren können. Pipers Art zu denken und zu handeln, bringt bei ihren Recherchen und Projekten ein außergewöhnliches gesellschaftliches, ökonomisches, psychologisches und spirituelles Potenzial der Bildenden Künste hervor. Sie hat den Blick auf die afro-amerikanische Kunstszene nachhaltig geprägt und der weiß-männlichen Sichtweise auf Kultur im Allgemeinen den Spiegel vorgehalten. Adrian Piper entwickelt ortsspezifische Arbeiten für die Ausstellung am Pariser Platz, die anlässlich der diesjährigen Preisverleihung gezeigt wird. Mit freundlicher Unterstützung der Kreissparkasse Köln, Trägerin des Käthe Kollwitz Museum Köln. Im Rahmen der Berlin Art Week.

artist

Adrian Piper 
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posted 10. Sep 2018

Lebendige Skulpturen

07. Sep 201831. Oct 2018
opening: 07. Sep 2018 18:00
Lebendige Skulpturen Gilbert & George, Konrad Lueg, Sigmar Polke, Gerhard Richter 07.09.2018 - 31.10.2018 Opening Friday, 07.09.2018 18:00 - 22:00 In art history, the concept of “living sculptures” is associated with the UK-based art personalities Gilbert & George. The duo, who claim to be “two people, but one artist,” (1) revolutionized art in the late 1960s by declaring themselves to be a living sculpture.(2) “Art and life became one, and we were the messengers of a new vision. At that moment that we decided we are art and life, every conversation with people became art, and still is.”(3) This anomalous attitude broadened the concept of sculpture in the context of the then emerging conceptual art movement and caused a stir – not least among the informed circles of the European art scene. Gilbert & George’s ideas had a special impact in the German Rhineland, where the close-knit artists Konrad Lueg, Sigmar Polke, and Gerhard Richter had been looking for new ways of making art both individually and collectively since the early 1960s. As a result, the three didn’t just work in the medium of painting, but also experimented with works that approached the genre of sculpture in different forms – an additional parallel to their London-based colleagues. And thus Lueg, who became Gilbert & George’s gallerist in 1969/70 (4) under the name Konrad Fischer, dealt with this set of issues in many forms. The beginning of this examination was marked by two papier-mâché figures in 1963 depicting Düsseldorf gallery owner Alfred Schmela and American President John F. Kennedy. (5) These works, which Lueg realized in collaboration with Gerhard Richter, were part of the action Leben mit Pop – eine Demonstration für den kapitalistischen Realismus/Living With Pop – A Demonstration for Capitalist Realism and reflected the virulence of the Fluxus phenomenon as well as that of Pop Art. (6) A short time later, Lueg produced a larger number of sign-like objects depicting women, boxers, or football players that sit on the boundary between sculpture and painting. In 1967 he started to expand the spectrum of his sculptures to include both small and large inflatable cubes made of shower curtain-like plastic film. With their patterns and voluminous forms, these works can be read as a response to American Minimal Art but are also characterized by a sense of humor that resonates with Gilbert & George’s works As Used by the Sculptors (1972) or Reclining Drunk (1973). Polke's fascination with sculpture can be understood even more clearly as he produced – or ordered the production of – a whole series of objects and installations. Kartoffelhaus/Potato House (1967) can be cited in this context, as can Polke’s Peitsche/The Whip (1968) or the so-called potato machine, Apparat, mit dem eine Kartoffel eine andere umkreisen kann/Apparatus Whereby One Potato Can Orbit Another (1969). Polke’s drawings also act as the basis for the ideation of sculptural works, whereby the majority of the sketches were not realized as objects. At the same time, Polke planned a series of objects that he did eventually use as staffage for photographs or films. It is precisely these works, which also include the 1968 portfolio …höhere Wesen befehlen/Higher Beings Ordain, that are closely connected with performative actions and build another conceptual bridge to Gilbert & George’s approach. Richter, on the other hand, only produced object-like works again years later in the course of rather experimental joint work with Konrad Lueg; first in 1969 with 4 Glasscheiben/4 Panes of Glass, which was followed in 1969/70 by Kugelobjekt/Spherical Object and then in 1971 with Zwei Skulpturen für einen Raum von Palermo/Two Sculptures for a Room by Palermo. Richter's drawings also contain representations that suggest an interest in sculptural expression and installation. One example is the 1968 draft for Zwölf Röhren/Twelve Tubes, which Richter realized that same year. (7) In addition to an open mind for testing out works that can be seen as existing beyond a classical canvas, he has another thing in common with Gilbert & George: an affinity for romanticism, as the duo have produced countless drawings, photographs, and postcards referring to this art-historical epoch. A shared interest in alternative forms of expression and a closeness of thought meant that Gilbert & George’s art fell on decidedly fertile ground in the Rhineland, which was reflected not least in a lively exchange between the artists mentioned here. Richter made paintings referring to the duo while Polke took photos of them that he colored by hand and Konrad Lueg invited them to create a contribution for an edition. The exhibition Living Sculptures aims to present Gilbert & George, Konrad Lueg, Sigmar Polke, and Gerhard Richter’s little-known yet still influential encounters with the medium of sculpture while also highlighting the similarities, the differences, and the prolific dialog between these artistic positions. (1) Prospero, „Gilbert & George: London, darling. Eccentrics with something to say“, The Economist, 1. März 2012. (2) Cf. Marco Livingstone, “Von Herzen,” in: Gilbert & George. Die große Ausstellung, exhibition catalog Haus der Kunst, München, Ostfildern 2007. (3) “Gilbert & George: Interview with Andrew Wilson,” first published in: Journal of Contemporary Art, Vol. 6, No. 2, Winter 1993. Cf. The Words of Gilbert & George, ed. by Robert Violette and Hans Ulrich Obrist, London 1997. (4) Cf. “My Name is Konrad Fischer. You Will Do Somezing wiz me in Düsseldorf, eeh…?,“ in: okey dokey Konrad Fischer, ed. by Brigitte Kölle, Cologne 2007. (5) Catalogue of works Marzona No. 16 & 15, in: Ich nenne mich als Maler Konrad Lueg, ed. by Thomas Kellein, exhibition catalog P.S.1 Contemporary Art Center, New York; Kunsthalle Bielefeld; Stedelijk Museum voor Actuele Kunst, Gent, 1999/2000, Bielefeld 1999 It should be noted that Dietmar Elger's catalogue of works does not include both objects. Cf. Gerhard Richter. Catalogue Raisonné, Vol. 1, ed. by Dietmar Elger, Ostfildern 2011. (6) Cf. Susanne Küper, “Konrad Lueg and Gerhard Richter, Leben mit Pop – Eine Demonstration für den Kapitalistischen Realismus,” in: Wallraf-Richartz-Jahrbuch 53, published by Freunde des Wallraf-Richartz-Museum und des Museum Ludwig e. V., Cologne 1992. (7) Cf. ibid.; WVZ Schwarz No. 68/16.** * After the opening BBQ Barbecue by Metzgerei Inhoven in the courtyard at Poststrasse 3, from 7 pm till late * The exhibition is part of DC-Open, the joint season openings of galleries in Düsseldorf and Cologne.
Sies + Höke, Düsseldorf

Poststr. 2 / Poststr. 3
40213 Dusseldorf

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posted 09. Sep 2018

Kathrin Sonntag -Things Doing Their Thing

09. Sep 201827. Jan 2019
opening: 08. Sep 2018 17:00
**Ort: Maschinenhaus M2** Kathrin Sonntags Arbeiten untersuchen die Bedingungen des Sehens, Wahrnehmens und Erkennens. Ihre fein austarierten Installationen verführen die Betrachter zu mentalen Fehlleistungen, erzeugen Unklarheiten über Raum, Zeit, Objekt oder Architektur und verwischen die Grenze zwischen fotografischer Abbildung und Realität. In ihrer Ausstellung Things Doing Their Thing zeigt Sonntag neben einer Fotoinstallation Objekte, Diaprojektionen und Collagen. Mit subtilen Eingriffen in das Beziehungsgefüge alltäglicher Dinge sabotiert die Künstlerin dabei die Wahrnehmungsroutine der Betrachter und verwandelt das M2 in einen Ort, an dem auf verblüffende Weise das Unerwartete im scheinbar Vertrauten zutage tritt. Ausgangspunkt der Installation Problems and Solutions (2017) ist eine Serie von Fotografien, mit denen Kathrin Sonntag provisorische Lösungen für Probleme des Alltags dokumentiert. Dabei geht die Künstlerin sowohl einfallsreichen als auch kruden Ad-hoc-Lösungen nach, die sie in ihrem direkten Umfeld aufzeichnet. Die Art und Weise, wie Sonntag die Serie im Rahmen der Installation präsentiert, ist wiederum nur eine Zwischenlösung – und bildet durch ihren improvisierten Charakter ein Echo zu den fotografischen Motiven. Mit ihrer neuen Arbeit Alles in Ordnung! (2018) widmet sich die Künstlerin dem bizarren Kosmos eines deutschen Versandkatalogs. Die 4-Kanaldiaprojektion kombiniert Text- und Bildbausteine zu einem Geflecht absurder Poesie und untersucht so augenzwinkernd die kuriose Rhetorik der Imperative, die sich gleichzeitig zu einem Spiegel gesellschaftlicher Rollenbilder und Konventionen verdichtet. Kathrin Sonntag (geb. 1981) studierte von 2000 bis 2006 Bildende Kunst an der Universität der Künste in Berlin. Sie lebt und arbeitet in Berlin. Ihre Arbeiten sind u. a. in den Sammlungen des Solomon R. Guggenheim Museum, New York, der Pinakothek der Moderne, München und der Sammlung der Bundesrepublik Deutschland vertreten und werden international gezeigt, zuletzt im Art:1 New Museum in Jakarta und der Galerie Thomas Erben in New York (beide 2017). Things Doing Their Thing ist ihre erste institutionelle Einzelausstellung in Berlin.

curator

Andreas Fiedler 
KINDL – Zentrum für zeitgenössische Kunst, Berlin .

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

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posted 08. Sep 2018

P-A-N-T-S-D-O-W-N. Nicola Gördes, Stella Rossié, Paul Spengemann & Gerrit Frohne-Brinkman

29. Jul 201809. Sep 2018
opening: 28. Jul 2018
PAUL SPENGEMANN & GERRIT FROHNE-BRINKMANN P-A-N-T-S-D-O-W-N 29.07.2018 - 09.09.2018 ERÖFFNUNG SA, 28. JULI, 21:00 UHR Begrüßung: Marion Edelhoff (Vorsitzende) Einleitung: Oriane Durand & Linda Schröer (Kuratorinnen der Ausstellung) Mit P-A-N-T-S-D-O-W-N wird der Dortmunder Kunstverein zu einer merkwürdigen Parallelwelt: Er zeigt sich desolat in einem Zustand zwischen Auf- und Abbau, der Ausstellungsbetrieb scheint eingestellt. Doch in der Dämmerung klirrt und rauscht es. Durch wenige einsichtige Stellen in der verkleideten Glasfassade erhascht man einen heimlichen Blick auf mysteriöse Szenen im Inneren: Eine Peepshow zügelloser Objekte ist zum Leben erwacht und übermittelt mithilfe einer okkulten Technik versteckte Botschaften. Auf Einladung des Dortmunder Kunstvereins konzipierten Nicola Gördes (*1987, Lennestadt), Stella Rossié (*1989, Bochum) (beide erhielten 2015 den DEW21 Förderpreis), Paul Spengemann (*1987, Henstedt-Ulzburg) und Gerrit Frohne-Brinkmann (*1990, Friesoythe) erstmals eine gemeinsame Installation. Hierfür fusionieren sie die von ihnen genutzten Medien Performance, Skulptur sowie Videokunst und Film. Sie spielen auf unterschiedliche Art und Weise mit Formaten der Unterhaltungskultur und greifen dabei auf Elemente des Pop und Trash zurück. HINWEIS: Die Rezeption der Ausstellung ist explizit von außen über die große Fensterfront des Kunstvereins vorgesehen und ist von der Dämmerung bis zum Morgengrauen möglich. Währenddessen bleibt der Kunstverein geschlossen. KALENDER DO, 26. JULI, 18:00 UHR: WORK IN PROGRESS mit Gerrit Frohne-Brinkmann, Nicola Gördes, Stella Rossié & Paul Spengemann. Für Mitglieder und Förderer des Dortmunder Kunstvereins. SA, 28. JULI, 21:00 UHR: ERÖFFNUNG Begrüßung: Marion Edelhoff (Vorsitzende) Einleitung: Oriane Durand & Linda Schröer (Kuratorinnen der Ausstellung) SO, 29. JULI, 15:00 UHR: BEHIND THE SCENES Die KünstlerInnen im Gespräch hinter den Kulissen
Dortmunder Kunstverein °

Dortmunder Kunstverein | Park der Partnerstädte 2 / Brinkhoffstraße 2
44137 Dortmund

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posted 07. Sep 2018

DC Düsseldorf Cologne 2018

07. Sep 201809. Sep 2018
DC Düsseldorf Cologne 2018 07.09.2018 - 09.09.2018 Friday 07 Sep 6–10 pm Saturday 08 Sep 12–8 pm Sunday 09 Sep 12–6 pm * **GALLERIES** Galerie Falko Alexander Cologne Neustadt-Nord Beck & Eggeling Düsseldorf Carlstadt Galerie Klaus Benden Cologne Altstadt-Nord Galerie Boisserée Cologne Altstadt-Nord Galerie Buchholz Cologne Altstadt-Nord Galerie Gisela Capitain Cologne Altstadt-Nord Choi & Lager Galerie Cologne Neustadt-Süd Clages Cologne Neustadt-Süd Cosar HMT Düsseldorf Flingern Konrad Fischer Gallery Düsseldorf Flingern Galerie Karsten Greve Cologne Altstadt-Nord Galerie Hammelehle und Ahrens Cologne Riehl Galerie Heinz Holtmann Cologne Altstadt-Süd Natalia Hug Cologne Neustadt-Süd Kadel Willborn Düsseldorf Flingern Martina Kaiser Cologne Neustadt-Nord Krupic Kersting Galerie // KUK Cologne Riehl Galerie Martin Kudlek Cologne Altstadt-Süd Kunst & Denker Contemporary Düsseldorf Unterbilk Galerie Christian Lethert Cologne Neustadt-Nord Linn Lühn Düsseldorf Flingern Nord Ludorff Düsseldorf Stadtmitte M29 – Richter Brückner Cologne Neustadt-Süd Martinetz Cologne Neustadt-Nord Galerie Hans Mayer Düsseldorf Altstadt Galerie Nagel Draxler Cologne Altstadt-Nord Galerie Nagel Draxler Cologne Altstadt-Nord Galerie Ute Parduhn Düsseldorf Kaiserswerth Parrotta Contemporary Art Cologne Neustadt-Süd Galerie Rupert Pfab Düsseldorf Flingern Berthold Pott Cologne Riehl Priska Pasquer Cologne Altstadt-Nord Thomas Rehbein Galerie Cologne Neustadt-Süd Petra Rinck Galerie Düsseldorf Flingern Nord Ruttkowski;68 Cologne Ehrenfeld Galerie Julian Sander Cologne Altstadt-Süd Galerie Brigitte Schenk Cologne Altstadt-Nord Galerie Anke Schmidt Cologne Bayenthal Schönewald Düsseldorf Flingern Galerie Clara Maria Sels Düsseldorf Carlstadt Setareh Gallery Düsseldorf Carlstadt Setareh Gallery Düsseldorf Stadtmitte Sies + Höke Düsseldorf Carlstadt Galerie Bene Taschen Cologne Neustadt-Nord Rob Tufnell Cologne Altstadt-Nord VAN HORN Düsseldorf Flingern Nord Philipp von Rosen Galerie Cologne Neustadt-Süd Michael Werner Kunsthandel Cologne Altstadt-Nord wildpalms Düsseldorf Stadtmitte Galerie Thomas Zander Cologne Bayenthal **OFF-SPACES** ak RAUM Cologne Ehrenfeld CAPRI Düsseldorf Flingern kjubh Cologne Neustadt-Süd Mélange Cologne Neustadt-Nord Moltkerei Werkstatt Cologne Neustadt-Süd piece*unique Cologne Altstadt-Nord **MUSEUMS** Kunstsammlung Nordrhein-Westfalen K20 Grabbeplatz Düsseldorf Altstadt Kunstsammlung Nordrhein-Westfalen K21 Ständehaus Düsseldorf Unterbilk Museum Kunstpalast Düsseldorf Pempelfort Museum Ludwig Cologne Altstadt-Nord Sammlung Philara Düsseldorf Flingern Nord Julia Stoschek Collection Düsseldorf Oberkassel Temporary Gallery Cologne Altstadt-Süd **INSTITUTIONS ** Braunsfelder Cologne Ehrenfeld Die Skulpturenhalle in Neuss Düsseldorf Holzheim Stiftung Insel Hombroich Düsseldorf Holzheim KIT – Kunst im Tunnel Düsseldorf Carlstadt Kölnischer Kunstverein Cologne Altstadt-Süd Kunst-Station Sankt Peter Köln Cologne Altstadt-Süd Kunsthalle Düsseldorf Düsseldorf Altstadt Kunstverein für die Rheinlande und Westfalen Düsseldorf Altstadt Langen Foundation Düsseldorf Holzheim **OKEY DOKEY** Delmes & Zander Cologne Neustadt-Nord DREI Cologne Altstadt-Süd Ginerva Gambino Cologne Neustadt-Süd Lucas Hirsch Düsseldorf Flingern Nord Jan Kaps Cologne Neustadt-Süd Linden Düsseldorf Stadtmitte Galerie Max Mayer Düsseldorf Stadtmitte
DC OPEN, Düsseldorf

DC OPEN DÜSSELDORF COLOGNE | Schinkelstraße 31
40213 Dusseldorf

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posted 06. Sep 2018

Hanne Lippard. Ulyd

30. Aug 201821. Oct 2018
Hanne Lippard. Ulyd 30.08.2018 - 21.10.2018 "Putting a door on the female mouth has been an important project of patriarchal culture from antiquity to the present day. Its chief tactic is an ideological association of female sound with monstrosity, disorder and death.” – Anne Carson, Glass, Irony and God, p. 120-21 Kunsthall Stavanger is proud to present Ulyd, a solo exhibition by Hanne Lippard. Lippard has been using language as the raw material for her work for the last eight years, processing it in the form of texts, vocal performances, sound installations, printed objects and sculpture. Her work takes its place in a rich history of the performative use of the voice, and the linguistic deconstruction of language, whose genealogy is found both in the fields of music, spoken word, theatre, sound poetry, and art. For Ulyd, a Norwegian word that is difficult to translate but that defines an unpleasant and uncontrollable noise, Lippard has developed a series of new works that explore the social forces governing female verbal expression; an expression that has been adroitly shaped since the time of the ancient Greeks as an instrument used for confining the place of women within a restricted social perimeter. The feminine was considered uncontrollable, and its language was fashioned in such a way as to ensure that women were continually attentive to the tone of their own voices and ways of expressing themselves. Until recently, the use of obscene and direct language was generally forbidden to them. Should they resort to it, the concomitant proof of their impurity and uncontrollable nature, supposedly inherent in their use of such language, would be held up against them in return. Between these two poles - a form of imposed expression and obscenity - female speech has long been limited to a narrow field. While gender relations have gradually become more balanced over time, former cultural codes still structure the use of language. Even where an obscene and irreverent form of expression is used as a tool to liberate female speech, such expression remains a mere reaction to these norms. Our collective unconscious has still not been fully decolonized, and many women confess to practicing self-censorship in all manner of situations where power struggles are at issue. No Answer is Also an Answer (2017) greets the viewer with subtle play of lights within an otherwise darkened room. The recording of a spoken text is played from speakers, presenting a composition of fragments with formulas of politeness and ready-made phrases as found in the most mundane email exchanges. This poetic piece explores the absurdity of this bland, neutral deference and gives the exhibition’s take on social criticism a particularly scathing aspect. Hanging on the walls throughout several galleries, Curse I-XIII (2018) reinterpret Roman curse tablets. The original curse tablets were generally created in the 2nd-4th centuries AD. by voiceless, provincial, non-citizens, women or slaves,- those whose speech did not count and who saw themselves relegated to the symbolic confines of the empire. While these tablets promised vengeance, they provided, above all, a release for psychological strain, like the platforms of expression offered by social media today. The artist has composed thirteen tablets as variations on the theme of resentment and malevolence. These revenge letters, that the artist sees as much as parodies as visual poems, provide a humorous commentary on the various proposals and themes of the exhibition. Blunt (2018) resonates like an emancipatory soliloquy whose insults are self-censored. The words distort and contract, and seem to escape the control of the speaker. They lose their meaning and become a linguistic abstraction of rhythmic logorrhea. A new video work, titled Ladyfolds (2018), takes its name from the informal term "lady folds" which refers to the private parts of a woman’s anatomy. The film tells a surreal tale of a woman, who is both subject and object, repeatedly finding herself in situations where she is leaning on her elbow and eventually getting stuck in this position. It is an all too familiar image, one which is a regular occurrence in art, as well as modern stock photography, presenting the beautiful woman as an appealing motif passively portraying beauty and serenity. Specially designed curtains block the doorways between several of the galleries. Titled Cunts (2018), these curtains also reflect the idea of female folds in the multiple drapes of silk in the shape of a theatre curtain. The curtains’ material and color refer to something sensual, as well as alluding to a piece of sexy underwear. The audience may experience desire, curiosity and trepidation not knowing what to expect behind the silky structure; a person, a woman, a whoman, or a beast? The curtains’ placement, covering passages and doors, refers to Sophokles’ description of the nymph Echo (daughter of Iambe in Athenian legend) as “the girl with no door on her mouth.” Applied directly on the gallery wall is a textual work dealing with expulsion and disturbance in speech. Titled Vent (2018), the text is based upon the awkward feeling of having had a full conversation, only realizing later that one has been speaking with a piece of food stuck between one’s teeth; a visual obstruction taking the focus away from the words, a flaw in the otherwise imagined streamlined representation of oneself. The text serves as an absurd abstraction of what could get stuck between oneself and one’s speech, also referring to emotions or objects too large to fit inside a mouth. Hanne Lippard, born in 1984 in Milton Keynes, GB, lives and works in Berlin. Lippard’s practice explores the voice as a medium. Her education in graphic design informs how language can be visually powerful; her texts are visual, rhythmic, and performative rather than purely informative, and her work is conveyed through a variety of disciplines, which include short films, sound pieces, installations and performance. Her most recent performances and exhibitions include Pocket, SALTS, Basel, CH (2017); Flesh, KW, Berlin, DE (2017) ars viva 2016; Index— The Swedish Contemporary Art Foundation, Stockholm, SE (2016); AUTOOFICE, *KURATOR, Rapperswil, CH (2016); Fluidity, Kunstverein, Hamburg, DE (2016); Galerie für Zeitgenössische Kunst, Leipzig, DE (2016); 6th Moscow Biennale of Contemporary Art, Moscow (2015); The Future of Memory, Kunsthalle Wien, Vienna (2015); Transmediale, Berlin (2015); Bielefelder Kunstverein, Bielefeld, DE (2015); Unge Kunstneres Samfund, Oslo (2014); Berliner Festspiele, Berlin (2013); Poesía en Voz, Mexiko-City (2012). Hanne is currently shortlisted for the Nam Jun Paik Award, 2018. hannelippard.com Ulyd is a co-production with Fri Art — Kunsthalle Fribourg, Switzerland. The exhibition has received generous support from Fritt Ord. Events: Exhibition opening: Thursday August 30, 6 pm. Opening performance by Luci Lippard: Thursday August 30, 7 pm. Closing performance by Hanne Lippard and Bendik Giske: Saturday October 20 at 7 pm. Publications: Thirteen Curse Tablets - WBW (Well Behaved Women) - The Woman (2018), published by Kunsthall Stavanger. This Embodiment (2017), published by Broken Dimanche Press.

artist

Hanne Lippard 
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posted 05. Sep 2018

Fundamentalist Cubes: Inside Spaces by Bruce Nauman, Absalon, and Gregor Schneider

30. Aug 201819. Mar 2019
opening: 30. Aug 2018 19:00
Fundamentalist Cubes: Inside Spaces by Bruce Nauman, Absalon, and Gregor Schneider 30.08.2018 - 19.03.2019 Opening: 30.08.2018 19:00 - 21:00 Curated by Ory Dessau The exhibition Fundamentalist Cubes focuses on the figure of the empty space in the work of Bruce Nauman, Absalon, and Gregor Schneider, where bare rooms, corridors, and other architectural settings undergo personification, becoming a body, a psychic structure. Rather than a symmetrical mirror, the personification of architectural settings in the work of the three artists turns empty spaces into an ambivalent reflection of a body, a mechanism of simultaneous assertion and negation, introducing presence in terms of absence, and vice versa. The title of the exhibition presupposes a shift from fundamental to fundamentalist cubes, in the course of which the universal geometry of elementary, absolute shapes is being replaced by a concoction of reductivist aesthetic and expressive overload. Following Minimalism’s critique of the white cube, the exhibition subverts the modernist model of the space of art as an immaterial, windowless container of autonomous display, situated outside the historical present of the everyday world. The works on view, each in its own way, shake the parameters upon which the ideal space of the white cube was constructed, by ascribing them to existing windowless institutions from which the world is sealed off, such as prisons and clinics. At the same time, the exhibition also seeks to challenge Minimalism’s conception of the actualized space as a context in which the art object extends into an event—a concrete intervention in a real materialized place perceived in time by a particular viewing body. Rejecting the option of site-specificity, the exhibition’s empty spaces engage with the respective venue architecture only to separate themselves from it, to establish a sort of enclave that is both inside and outside. Neither phenomenological nor incorporative, these spaces are a kind of operation—a serial, prescribed scenario—whose object is the viewer; they require the bodily presence of the viewer not as a complementary factor, but in order to deprive the viewer of the ability to freely move and act within them. Since the late 1960s Bruce Nauman (*1941) has been thematizing the appearance and disappearance of bodies through space, in an ongoing series of experiments combining sculpture, architecture, performance, video, sound, and language. These experiments signify the interplay between space and body as a metaphor of a unified selfhood or the loss thereof. The space of Nauman’s installations is both a corporeal and spectral entity—the topography of a dispersed, obscure body. Begun in 1991 and due to his premature death remained mostly unrealized, the Cellules (Cells) project by Absalon (1964–93) is a group of six different architectural prototypes of white cells, designed in accordance to the minimal volume his body required for the purpose of permanently accommodating the artist in the outdoors of six different cities and countries. The Cellules were initiated as the emanation of a total-personal space, and the cancellation of the urban-social space they would have been surrounded by. In the work of Gregor Schneider (*1969) the figure of the empty space was begotten by, from, and within one particular site of origin: Haus u r (House u r), the abandoned residential building in his hometown Mönchengladbach-Rheydt, which he occupied from 1985 until 2001, all the while ceaselessly reconstructing it inwards, installing rooms inside the house’s preexisting rooms. Initially secondary, Haus u r was conceived as a replica of itself, as a copy without original—a duplicate that conceals and assimilates the thing it duplicates.

artists & participants

Absalon,  Bruce Nauman,  Gregor Schneider 

curator

Ory Dessau 
M-ARCO Marseille

M-ARCO I 765 Chemin du Littoral
13016 Marseille

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posted 04. Sep 2018

Markus Oehlen "vom Stuhl gefallener Akt mit Trompete"

01. Jul 201814. Oct 2018
opening: 30. Jun 2018 19:00
Markus Oehlen - vom Stuhl gefallener Akt mit Trompete 01.07.2018 - 14.10.2018 Ausstellungseröffnung mit der Performance Audiovisuelles Statement von Markus Oehlen: Samstag, 30.06.2018 19:00 Uhr Die Kunstsammlungen Chemnitz am Theaterplatz präsentieren vom 1. Juli bis zum 14. Oktober neue Werke des Künstlers Markus Oehlen (*1956). Bestimmende Elemente der 2018 entstandenen Arbeiten sind Kordeln und Druckplatten. Die besondere Ästhetik dieser Kombination macht den Reiz der Bilder aus, die in Chemnitz nun erstmals zu sehen sind. Während Markus Oehlen an der Kunstakademie in Düsseldorf studierte, war die deutsche Malerei bei vielen Künstlern der jungen Generation stark von der Punkbewegung geprägt. Oehlen wählte damals einen anderen Weg als viele seiner Malerkollegen, die mit politisch provokanter und satirisch figurativer Malerei provozierten. Gegen den damaligen Trend löste er seine Kunst von gesellschaftlichen Themen und experimentierte grenzüberschreitend mit künstlerischen Ausdrucksformen. „Ich glaube nicht an die ehrliche Malerei. Ich liebe den Mix von Fotografie, Grafik, Malerei und Skulptur“, fasst er später seine Arbeitsweise zusammen. Die Kordel, die Markus Oehlen kontinuierlich für seine Bilderfindungen nutzt, befestigt er auf Holz und verwendet sie als Stempel. Die Druckplatten werden mit schwarzer und blauer Acrylfarbe auf groß- formatigen Nesselstoff gedruckt. Mit dieser Stempeltechnik erzeugt der Künstler eine spezielle grafische Textur und Materialität auf dem Stoff. Seine Bilder wirken wie flüchtig entstandene Kritzeleien mit dem Kugelschreiber. Rätselhaften abstrakten Elementen setzt Oehlen deutbar Figuratives gegenüber. Die Vielfältigkeit der Bildsprache verlangt intensive Betrachtungen. Im fantastischen Makrokosmos der Werke finden sich unzählige Details. Auswahl und Anordnung der Motive scheinen wie zufällig ausgewählte Zitate einer Welt, in der alle Themen, Stilrichtungen und Beobachtungen bereits medial bearbeitet sind. Köpfe, Arme, Tiere, Fabelwesen, Pflanzen, Objekte oder Schemenhaftes werden aus Linien, geometrischen Formen und Bänderstrukturen zusammengefügt und tauchen in immer neuen Verbindungen und Überlagerungen auf. Schnell erfassbare Kompositionen wechseln sich mit feinteiligen Clustern ab. Gitter- und Netzstrukturen korrespondieren mit ornamentalen und organischen Elementen. Formen verwachsen mit Linien, werden von ihnen überzogen und zu einem quirligen, unruhigen Gespinst verbunden. Daneben stehen ruhige Bildzonen mit vertikalen und horizontalen Strichen, die wie meditative Konzentrationsfelder wirken. Im Kontrast zu diesen Werken mit überwiegend blauer Farbgebung stehen farbintensive Kordel- oder Wickelbilder, bei denen Oehlen die Schnur direkt einarbeitet. Sie bildet eine haptische Linie, die den abstrakten Arbeiten Reliefcharakter verleiht. Farbig kontrastreich auf die tapezierten Museumswände gehangen, wird die Wand als funktionales Architekturmotiv neu bestimmt und entwickelt sich selbst zum Bild. Die Ausstellungsräume dienten dem Künstler als ein Atelier auf Zeit. Die Tapete ist zusammengefügt aus computerbearbeiteten Zeichnungen, die ein breites Spektrum der Bildideen der letzten Jahre bündeln. Der Künstler hinterfragt mit dieser Kombination die feste Verortung des Visuellen in unserer Wahrnehmung. Markus Oehlen ist auch als Musiker aktiv. Seine Bildkompositionen werden daher treffend mit dem Sampling und Arrangieren in der Musik verglichen. Er ist Dirigent seiner Bildwelten und entscheidet durch die Auswahl der Motive sowie der Intensität, mit der er andere Formen bis zur Unkenntlichkeit überstempelt oder ihnen Raum gibt, über die Stimmungen seiner Arbeiten. Im Wechsel zwischen konkret und abstrakt entdeckt der Betrachter das, was er gerade sucht, abhängig von seinen Erwartungen, Erfahrungen, Bedürfnissen, seinem Wissen und seiner Vorstellungskraft. Markus Oehlen wurde 1956 in Krefeld geboren und studierte von 1976 bis1982 an der Kunstakademie Düsseldorf. Er zählt zu den Hauptvertretern der Neuen Wilden und gehörte zum engen Umfeld des sogenannten Ratinger Hofes in Düsseldorf. Oehlen spielte dort als Schlagzeuger in den Punkbands Charley’s Girls und Mittagspause. Seit 2002 lehrt er in seinem Wohnort München als Professor für Malerei und Grafik an der Akademie der bildenden Künste.

artist

Markus Oehlen 
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posted 03. Sep 2018

Yinka Shonibare MBE

01. Sep 201806. Oct 2018
Yinka Shonibare MBE 01.09.2018 - 06.10.2018
Goodman Gallery, Johannesburg

163 Jan Smuts Avenue, Parkwood
2193 Johannesburg

South Africashow map
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posted 02. Sep 2018

JAMES ENSOR - Dreams of mother-of-pearl.

13. May 201816. Jun 2019
JAMES ENSOR - Dreams of mother-of-pearl. 13.05.2018 - 16.06.2019 The Ensor Collection of KMSKA in Ostend James Ensor is known worldwide. Museums, collectors and enthusiasts from all over the world are fascinated by his groundbreaking art. Long before the term became a fashionable cliché, Ensor was certainly a game changer. But all too often, the artworks themselves are overshadowed by the popular myth: that of a strange, misanthropic eccentric who sat behind his piano in his Ostend shell shop. The innovative nature of Ensor’s paintings, etchings and drawings is the direct result of his desire to explore, in an almost systematic way, the most diverse techniques, genres and modes of representation. In a letter to the art critic Pol De Mont, written as early as 1894, he said: “j’ai étudié attentivement les manières les plus opposées” (I have attentively studied the most diverse artistic styles). And he defended his pursuit of artistic diversity, and the search for various stylistic, iconographic or technical alternatives, until advanced old age. Only in this way could an artist succeed in transporting his audience, and that was the ultimate goal for Ensor. He was captivated by the elation that he felt whenever he took his Brussels friends to the promenade and showed them the miraculous beauty of the sea. This was the bliss of which he dreamed when, inspired by the pearly interior of a shell, he painted his religious tableaux, landscapes or still lifes. In order to do justice to both the immense diversity and underlying artistic coherence of his oeuvre, Ensor’s works will be shown in three thematic ensembles: (1) Landscapes and fantastic compositions in which the artist searches for sublime images. Quasi-abstract evocations of the luminous mists above the sea, the teeming chaos of The Fall of the Rebellious Angels who do battle with the elements, the childlike, fairy-tale procession of a brass band through the streets of Ostend, the spectacular Expulsion of Adam and Eve from the Earthly Paradise, and the mysterious silence over the roofs of the houses in Ostend. (2) Inspired by Maeterlinck and Jan van Ruusbroec, Ensor described colour as “the ornament of our spiritual wedding”. In his view, the still life was the touchstone of the true colourist. From 1880 to 1941, Ensor painted around 700 canvases, more than a third of which are still lifes. For Ensor’s friend, the poet-critic Emile Verhaeren, even The Oyster Easter (1882) was first and foremost a monumental still life. This painting is therefore central to the ensemble of still lifes painted between 1880 and the 1930s. (3) Ensor’s contemporaries considered his depictions of young bourgeois women in interiors (The Oyster Easter, The Bourgeois Salon, Afternoon in Ostend) as a tribute to the intimate charm and domesticity of their world. But ‘the woman’ is also the protagonist in grotesque masquerades such as The Astonishment of the Mask Wouse (1889) or Skeletons Fighting for the Body of a Hanged Man (1891). The Ensor Research Project In 2013, the Royal Museum of Fine Arts in Antwerp (KMSKA) launched the Ensor Research Project (ERP), whereby the master’s paintings are studied using advanced imaging techniques (infrared reflectography, X-ray, Portable X-Ray Reflectography, etc.). The ERP team has recently been expanded to include members of staff from Mu. ZEE. Until now, the investigations have focused on the collections of paintings belonging to the KMSKA, Mu. ZEE, the Museum of Fine Arts in Ghent (MSK) and a private collection. The first interim results of this research will be incorporated into the new Ensor presentation. The new Ensor presentation consists almost exclusively of paintings and drawings from the collection of the Royal Museum of Fine Arts in Antwerp. With 38 paintings and some 650 drawings to its name, the museum boasts not only the largest but also the very finest Ensor collection. Directly and indirectly, these holdings are the fruit of the dedication shown by Antwerp collectors such as François Franck, Albin and Emma Lambotte, and the art-loving members of the exhibition association known as Kunst van Heden (1905-1955). But head curator Walther Vanbeselaere (1948-73) also played a decisive and important role in determining the quality of the Antwerp Ensor collection. The fact that the Antwerp museum has developed into the leading centre of expertise on Ensor is also down to Vanbeselaere. In recent years the Antwerp Ensor collection has been exhibited in New York, Chicago, Los Angeles, Tokyo, Basel, Copenhagen and Utrecht. The KMSKA is placing 26 paintings on long-term loan to Mu. ZEE. In addition, ensembles of drawings will be shown in a series of changing displays.

artist

James Ensor 
Mu.ZEE Ostend

PMMK - Provinciaal Museum voor Moderne Kunst / Fine Art Museum i / Ensor House / Permeke Museum | Romestraat 11
B-8400 Ostend

Belgiumshow map
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posted 31. Aug 2018

chi sa chi sa chi sa

12. Aug 201814. Oct 2018
opening: 12. Aug 2018 12:00
chi sa chi sa chi sa 12.08.2018 - 14.10.2018 Eröffnung am: 12.08.2018 12:00 Künstler: Simon Hehemann, Stefan Vogel Kurator/en: Johanna Adam, Nicole Giese-Kroner Die beiden Künstler Simon Hehemann und Stefan Vogel verbindet eine, angesichts ihrer noch jungen Karrieren, eine bereits lange Tradition des gemeinsamen künstlerischen Schaffens. Zahlreiche kollaborative Projekte sind in den letzten zehn Jahren in verschiedenen Kontexten entstanden. Die geteilte – oder besser: verdoppelte Autorschaft spielt bei diesen und anderen Gemeinschaftsarbeiten auch in konzeptueller Hinsicht eine zentrale Rolle. Den Schaffensprozess als Dialog zu begreifen, impliziert bewusste Konventionsbrüche und wirft Fragen auf, die den traditionellen Werkbegriff und den Mythos eines künstlerischen Genius betreffen. Skepsis gegenüber dem Suggestiv des geschlossenen Kunstwerks und eindeutiger Autorschaft münden in aktiven Zweifel, dem die Künstler Raum und Ausdruck verleihen – auch im Ausstellungstitel. "Chi sa" ist italienisch für "wer weiß". Mit der dreifachen Repetitio wird die Aussage verstärkt, doch die fehlenden Satzzeichen lassen uns rätseln, ob es sich um eine Frage, einen Ausruf oder eine Feststellung handelt. Wer weiß? Wer weiß! Wer weiß. Das Konzept zu der gemeinsamen Ausstellung im Syker Vorwerk – Zentrum für zeitgenössische Kunst basiert auf der Idee zu einer großen Installation, die sich in einer permanenten Dynamik befindet. Der Prozess, der mit einem ersten Gedanken beginnt, sich in konzeptuellen und praktischen Überlegungen fortsetzt und schließlich in die Umsetzung mündet, soll nicht als abschließend begriffen werden, sondern sich weiter fortsetzen – im Rezeptionsprozess der Besucher wie auch in der weiteren künstlerischen Arbeit. Die Installation, die sich durch alle Räume zieht, macht die Arbeitspraxis und das künstlerische Denken sichtbar, das ein Werk als grundsätzlich offenen Prozess begreift. Das Material, oftmals gefundene oder gezielt gesuchte Gegenstände, wird zum Bedeutungsträger und verweist einerseits auf sich selbst und seine ursprüngliche Funktionen, zum anderen wird es umgeformt oder umgewidmet und verschafft sich auf diese Weise ein eigenes Bezugssystem. Beider Künstler Werke gehen stark vom Zeichnerischen aus, auch wenn der Begriff auf jeweils unterschiedliche Weise gedehnt und mitunter zu einem „Zeichnen im Raum“ oder „Zeichnen mit Material“ erweitert wird. Eine weitere, wichtige Rolle spielen Sprache und Literatur – sowohl eigens produzierte, oft lautmalerische Poesie, wie auch die Auseinandersetzung mit und Weiterverarbeitung von literarischen Werken anderer. Das Schaffen einer eigenen Erzählung, die sich durch die gesamte Ausstellung zieht, vollzieht sich über verschiedene Ebenen, die sich miteinander verschränken. Sprache und Text interagieren mit Bild und Raum, verschiedene Verdichtungen entstehen sowie Bezugslinien zwischen den unterschiedlichen Gegenständen und Motiven. Dem Betrachter selbst wird innerhalb dieses Komplexes außerdem eine wichtige Funktion und große Eigenständigkeit zugestanden, aber auch abverlangt. Gefördert durch die Stiftung Niedersachsen und den Landschaftsverband Weser-Hunte e.V. mit Mitteln des Landes Niedersachsen.

artists & participants

Simon Hehemann,  Stefan Vogel 
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