daily recommended exhibitions

posted 19. Jun 2019

JOHN DIVOLA - ISOLATED HOUSES

20. Jun 201927. Jul 2019
opening: 20. Jun 2019 06:00 pm
JOHN DIVOLA ISOLATED HOUSES Opening preview: Thursday 20 June from 6pm till 8pm Exhibition dates: 20 June – 27 July 2019 The color photographs in this exhibition are from a series photographing isolated structures in the high desert of Southern California. All of the images are made in the east end of the Morongo Valley Basin, Wonder Valley, and the area surrounding the town of Twenty-Nine Palms. This is an area approximately one hundred and fifty miles due East of Los Angeles. From the oceans edge in L.A., to the area that Divola is photographing, the landscape is continuously occupied. This area is the final edge of a vast urban expanse. For social, financial, or personal reasons individuals are pushed, or pulled, or simply seek this literal cultural edge. Beyond this point is unoccupied desert. In the past Divola has perused projects which dealt with the iconography of transcendence and the sublime. In other projects he has investigated the literal desire to get “outside” of or beyond the cultural (a desire with the ironic consequence of transforming the natural into the very condition one wishes to escape). It is this conceptual trajectory which has led Divola to this body of work. Isolated Houses is an extension of the investigation begun in the “four landscape” portfolio. The structural rigor of that work has been replaced with concerns which are aesethic and social. On the simplest level Divola is drawn to the vernacular character of the architecture (painted with a Home Depot palette) as well as the amazing visual character of these structures on this vast desert plain lit by an extraordinary light. However, at base, his primary interest is to create images which are iconographic of a desire. A desire to be “beyond,” a desire to be alone – a sign of man on the landscape.

artist

John Divola 
OFFICE BAROQUE Brussels

Bloemenhofplein 5
1000 Brussels

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posted 18. Jun 2019

Michael Kienzer. Zitrone und rosenrot

04. May 201913. Jul 2019
Michael Kienzer. Zitrone und rosenrot 04.05.2019 - 13.07.2019 Eröffnung: Samstag, 04. Mai 2019, 17 Uhr Eröffnung durch: Dr. Günter Riegler, Stadtrat Zur Ausstellung spricht: Mag. Katrin Bucher Trantow, Chefkuratorin Kunsthaus Graz Der Bildhauer Michael Kienzer bedient sich einer minimalistischen Formensprache und bricht sie gleichzeitig durch die Verwendung lapidarer Alltagsgegenstände. Dank physikalischer Gesetzmäßigkeiten, die Kienzer seinen skulpturalen Versuchsanordnungen zugrunde legt, entsteht dabei trotz Einsatz massiver Materialien wie Stahl oder Beton ein Gefühl von Leichtigkeit und Fragilität. So arbeitet Michael Kienzer mit subtilem Humor gegen das gerade bei Skulptur oft unumgängliche Pathos der Kunst.
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posted 17. Jun 2019

Sam Falls

24. May 201920. Jul 2019
opening: 24. May 2019 07:00 pm
Sam Falls 24.05.2019 - 20.07.2019 Opening Friday, May 24.05.2019 19:00 - 21:00 Sam Falls creates vanitas and his works are characterized by unspoken dichotomies: transience and permanence, life and death, attainment and disappearance. A sense of temporality permeates his paintings, photographs, and installations in a way reminiscent of art historical practices. Symbolism in nature is central to the painting tradition – one can recall the baroque bouquets of Caravaggio and Chadin, or the flora of Botticelli and Odilon Redon. Falls stands firmly within this tradition while simultaneously following in the footsteps of modernism and conceptual art. A visual language emerges from the synthesis of the two traditions, as many of Falls’ works are created with the assistance of nature herself. The artistic act is in the recontexualized interaction and dynamic of color, plants, rain, light, and air to create new, largely uncontrolled compositions. To create his paintings, Falls takes a canvas, plants, and dyes to an outdoor location – his garden in Los Angeles, the forest, a beach, or wherever he might go – and positions the canvas on the ground, and places the plants and dyes on top. He surrenders the final composition to the elements, letting the natural precipitation and sun exposure active the dyes, leaving a silhouette of the plants beneath. As winds subtly shift, so to do the plants and dyes, leaving a lasting visual memory of what has occurred. Botanist Anna Atkins published the first book of photographic images in 1843 when she made cyanotype photographs of plants and ferns through a similar process of sun exposure. Falls again merges areas of his practice to create single compositions, as he emulates the cyanotype process with the use of colors on canvas. The natural, performative act inherent to Falls’ paintings and the indiscriminate way in which the elements act upon the canvas transform a single image into a narrative. Each painting gives the viewer a glimpse into transience lived in real time. In this way he captures the dichotomies stated earlier. The artist goes outdoors and submits to the constant yet ever changing natural world. His painting exhibited at CAPRI was created for this exhibition during Falls’ time in France this past Spring. His helium balloons also reference the passage of time. Falls formed their transparent contours after outlining the bodies of his family and friends. He speaks of “microcosms of aging”: though at first they float high in the room, full of energy and life, over the course of the exhibition they drop lower until they lie feebly on the ground. This installation dialogues with the photograph also exhibited that shows two tombstones of a married couple. Stone is often seen as indestructible and permanent this images stands in opposition to that supposition, in this case marking the life and death of a couple while simultaneously fading away. The photograph in the window sits in a lightbox that is lit by daylight, its intensity dependent upon the sun and its position, until it becomes unreadable and invisible at night. Sam Falls, born in San Diego, California in 1984, now lives and works in Los Angeles. Recent solo exhibitions include the Hammer Museum, Los Angeles, The Kitchen, New York, Ballroom Marfa, Texas, and the Fondazione Giuliani, Rome. Last year he was featured in group shows at the Frankfurther Kunstverein and the Sydney Biennale. He is currently exhibiting works at the High Line, New York and will be exhibiting works of sculpture at the Crystal Bridges Museum, Bentonville. Text: Gesine Borcherdt, Curator of CAPRI

artist

Sam Falls 
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posted 16. Jun 2019

Behind the Screen

10. Mar 201921. Jul 2019
Behind the Screen 10. März – 21. Juli 2019 Gruppenausstellung, Maschinenhaus M2 Constant Dullaart, Jonas Lund, !Mediengruppe Bitnik, Gonzalo Reyes Araos, Tristan Schulze, Addie Wagenknecht, Julia Weißenberg Die Digitalisierung hat längst alle Lebensbereiche erfasst und beeinflusst gesellschaftliche Entwicklungen weltweit. Ein Leben ohne die technischen Innovationen der letzten Jahrzehnte ist mittlerweile unvorstellbar geworden. Obwohl wir als User digitaler Endgeräte täglich mehrere hundert Megabytes an Daten produzieren und konsumieren, bleibt das Digitale an sich unsichtbar – und für viele auch ungreifbar. Die Künstlerinnen und Künstler der Ausstellung Behind the Screen blicken gleichsam hinter den Bildschirm. Mit einem Bewusstsein dafür, wie Verhaltens- und Denkweisen durch die Digitalisierung geprägt werden können, nutzen sie digitale Technologien und Bildsprachen als Medium und Werkzeug künstlerischer Prozesse. Über eine bloße Reflexion hinausgehend, machen ihre Arbeiten digitale Transformationen analog sichtbar. In Arbeiten wie PVA Compositions (2017) oder #brigading_conceit (2018) untersucht Constant Dullaart (*1979, lebt und arbeitet in Berlin) digitale Identitäten als Währung in sozialen Netzwerken. Selbst ausgeklügelte Verfahren zur Verifizierung schützen nicht davor, dass die öffentliche Meinung mithilfe von Fake-Accounts beeinflusst wird. Mit Jennifer in Paradise (2013) erinnert Dullaart an die Anfänge der Bildbearbeitungssoftware Photoshop, die unser Verständnis vom Wahrheitsgehalt von Fotografie revolutioniert hat. Julia Weißenberg (*1982, lebt und arbeitet in Köln) konzentriert sich in ihren Arbeiten auf die sozialen Auswirkungen der neuesten digitalen Entwicklungen. Secrets are for filthy people (2016) und Live (2018) hinterfragen die Bedeutung von Privatsphäre in der digitalisierten Welt. Welche Auswirkungen haben in den Massenmedien zirkulierende Bilder auf unsere Selbstwahrnehmung und auf unsere Gesellschaft? Die !Mediengruppe Bitnik (Carmen Weisskopf, *1976, und Domagoj Smoljo, *1979, leben und arbeiten in Zürich und Berlin) beschäftigt der Verlust der digitalen Kontrolle. In der Serie Solve this Captcha (2016) stehen Bots, die menschliches Verhalten nachahmen, im Vordergrund. Wie lässt sich feststellen, ob tatsächlich ein Mensch vor dem Bildschirm sitzt oder ob ein Programm abläuft? Und können wir Menschen die Kommunikationsstrategien der Bots durchschauen? Jonas Lund (*1984, lebt und arbeitet in Berlin) setzt Blockchain-basierte Systeme ein, um ökonomische und soziale Zusammenhänge des Kunstmarktes zu beleuchten. In seiner neuesten Arbeit JLT Jonas Lund Token (2018) kreiert er Aktien seiner künstlerischen Praxis als Kryptowährung, mit denen die Aktionäre strategische Entscheidungen über seine künstlerische Entwicklung treffen können. Die Papierarbeiten der Serie RGB Paintings (2018/19) von Gonzalo Reyes Araos (*1980, lebt und arbeitet in Berlin) sind durch Bildschirme inspiriert. Die Rasterbilder basieren auf aus roter, grüner und blauer Farbe zusammengesetzten Pixeln. Fehler im Raster machen Parallelen von Informationsübermittlung in der physischen und der digitalen Welt sichtbar. Tristan Schulze (*1982, lebt und arbeitet in Leipzig) initiiert in seiner Arbeit Webmaschine (2018) einen Dialog zwischen Mensch und künstlicher Intelligenz. Webmuster können als binäre Zeichenketten verstanden werden, Algorithmen können neue Muster generieren. Schulze hat ein künstliches neuronales Netzwerk programmiert, das Webvorlagen für einen Handwebstuhl erzeugt. Jeder Eingriff in den Webprozess trainiert das Netzwerk. Die fertigen Stoffe bilden diese Interaktion zwischen Mensch und Maschine in gewebter, lesbarer Form ganz analog und linear ab. Auch Addie Wagenknecht (*1981, lebt und arbeitet in Innsbruck) macht sich für Ihre Kunst Algorithmen zueigen. Für ihre Arbeiten aus der Serie Beauty and Terror (2018) modifizierte sie einen Staubsaugerroboter, so dass er mit Kosmetikartikeln wie Parfum, Vitaminen oder Make-Up auf Leinwand malt. Wagenknecht thematisiert so einerseits die Verflechtungen der Schönheitsindustrie mit militärischer Technologieentwicklung und stellt andererseits die große Frage nach Schönheit und der Darstellung des weiblichen Körpers heute. Gastkuratorin: Anne Schwanz

curator

Anne Schwanz 
KINDL – Zentrum für zeitgenössische Kunst, Berlin .

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

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posted 15. Jun 2019

Johannes Paul Raether, Victoria Sin, Mikołaj Sobczak und Philipp Timischl

15. Jun 201918. Aug 2019
opening: 14. Jun 2019 07:00 pm
Johannes Paul Raether, Victoria Sin, Mikołaj Sobczak und Philipp Timischl DISPLAY 15.06.2019 - 18.08.2019 Eröffnung: Freitag, 14.06.2019 19:00 Uhr Die von einem Performance- und Kinoprogramm begleitete Gruppenausstellung DISPLAY zeigt zeitgenössische künstlerische Arbeiten, die sich mit dem Konzept „Drag“ auseinandersetzen. Ursprünglich bezeichnet Drag das Auftreten in Kleidung des jeweils anderen Geschlechts, wobei jeder Performer/jede Performerin einen Charakter eine eigene Identität entwickelt. Obschon allen Formen des Drag die Hinterfragung konventioneller Geschlechterdefinitionen gemein ist, lässt sich zunehmend eine Aufweichung und die Erstarkung geschlechtsneutraler Rollen beobachten. In den Arbeiten von Johannes Paul Raether (*1977, lebt in Berlin), Victoria Sin (*1991, in Toronto CA, lebt in London), Mikołaj Sobczak (*1989, in Poznan PL, lebt in Münster) und Philipp Timischl (*1989, in Graz, lebt und arbeitet in Wien) begegnen wir unterschiedlichen Auseinandersetzungen mit dem Konzept von Drag: Es findet Widerhall als Werkzeug der Selbstermächtigung, als Möglichkeit einer immer wieder neu zu erfindenden Identität sowie als Vehikel zur Hinterfragung und zur Überwindung sozialer Klassen, (hetero)normativer Vorstellungen und bestehender Geschichtsschreibung. Die Ausstellung wird kuratiert von Linda Schröer

curator

Linda Schröer 
Dortmunder Kunstverein

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

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posted 14. Jun 2019

Liz Magor: BLOWOUT

27. Apr 201923. Jun 2019
For more than four decades, Liz Magor’s practice has quietly dramatized the relationships that develop among objects. Drawing on materials familiar from daily life, she carefully pairs elements of tenderness and exposure, often playing soft against hard, weak against strong, hand-made against mass-produced. Each artwork conjures broad social histories and is driven by intimate, contingent dynamics of power, desire, and vulnerability. Manipulating found objects much in the way an author gathers fragments of stories, the Canadian artist brings them together into a newly commissioned body of work that she describes as “a collection of tiny intense narratives.” Here, she uses Mylar to create clear plastic support forms recalling commercial packaging for a number of sculptural “agents”—stuffed toys that she alters in various ways. In another installation, thirty pairs of secondhand shoes line a low structure, each displayed within its own box amidst elaborate embellishments. Magor uses sculptural techniques like casting, containing, cutting, and reattaching to create these hybrids, which she arranges into sprawling vignettes. The artist is interested in how the objects might express or conceal conflicted aspirations and emotions through their own physical vocabularies: they are at once active, awkward, humorous, pathetic, and joyful. As designed products, the original items have been influenced by trends in fashion, which Magor identifies as a powerful engine for reproducing and reinforcing specific aesthetic ideals. As concrete entities with inscrutable histories, they have accumulated signs of deterioration and obsolescence. The tension between these characteristics—reflecting idealized possibilities but failing to achieve them—is a central theme in BLOWOUT, pointing to complex questions of form and material, as well as the deeply-rooted systems of social organization that lie beneath. The exhibition is accompanied by a publication—the artist’s first US catalogue in 10 years—featuring thorough photographic documentation of the new work, newly commissioned texts by Sheila Heti and Mitch Speed, and a conversation between the artist and curators. BLOWOUT is co-organized by the Renaissance Society and The Carpenter Center for the Visual Arts at Harvard University, where it was on view January 31–March 24, 2019. It is co-curated by Dan Byers, John R. and Barbara Robinson Family Director of the Carpenter Center, and Solveig Øvstebø, Executive Director and Chief Curator of the Renaissance Society at the University of Chicago. Liz Magor lives and works in Vancouver. In 2017, her work was the subject of traveling survey at the Kunstverein in Hamburg, Migros Museum, Zurich, and MAMAC, Nice. Other recent solo exhibitions of her work include: Centre d’art contemporain d’Ivry - le Crédac, Paris (2016), Musée d’art Contemporain de Montréal, Montreal (2016), the Art Gallery of Ontario, Toronto (2015), Peep-hole, Milan (2015), Presentation House Gallery, Vancouver (2014), and Triangle France, Marseilles (2013). In addition, she has had solo exhibitions at Henry Art Gallery, Seattle (2008), the Power Plant, Toronto (2003) and the Vancouver Art Gallery (2002). Magor participated in Documenta 8, Kassel (1987), and the 41st Venice Biennale, Venice (1984).

artist

Liz Magor 

curator

Dan Byers 
Renaissance Society, Chicago

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

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posted 13. Jun 2019

Two Rivers . Joachim Brohm / Alec Soth

29. Mar 201907. Jul 2019
Two Rivers . Joachim Brohm / Alec Soth 29.03.2019 – 07.07.2019 Zwei Fotografen, zwei Flüsse: Die Ausstellung „Two Rivers“ präsentiert die wichtigsten fotografischen Werkgruppen des deutschen Künstlers Joachim Brohm und des US-Amerikanischen Fotografen Alec Soth. In einer Weltpremiere vereint die Ausstellung Werke aus insgesamt zehn Serien, unter anderem Alec Soth’ Hauptwerk „Sleeping by the Mississippi“ und Joachim Brohms berühmte „Ruhr“-Serie. Im Mittelpunkt der Ausstellung stehen Alec Soth’ Serie „Sleeping by the Missisippi“ und Joachim Brohms Serie „Ruhr“, die beide Menschen an der Peripherie des Flusses porträtieren. Brohm, der an der Folkwang Hochschule studierte, ist bildender Künstler, der sich mit dem Medium der Fotografie ausdrückt. Soth steht als lyrischer Dokumentarfotograf in der Tradition von Robert Frank, Stephen Shore und Joel Sternfeld. Was die beiden verbindet, ist ein dokumentarisch-künstlerischer Blick, der sie als sensible Dokumentaristen ihres sozialen Umfeldes ausweist. Die Ausstellung versammelt insgesamt zehn Werkgruppen der beiden Fotografen, neben den bekannten Serien an der Ruhr und am Mississippi werden weltweit zum ersten Mal auch Joachim Brohms seltene Porträts und ein neues Werk von Alec Soth gezeigt. Alec Soth gehört seit seinem ersten Hauptwerk „Sleeping by the Mississippi“ aus dem Jahre 2004 zu den wichtigsten Fotografen der internationalen Fotoszene. Soth ist bildender Künstler, Magnum-Fotograf, Blogger, Verleger und Pädagoge. Er erforscht die vielen verschiedenen Formen der Fotografie und wie sie sich in der Welt präsentieren. Als lyrischer Dokumentarfotograf - in der Tradition von Robert Frank, Stephen Shore und Joel Sternfeld - sieht sich Soth in erster Linie als amerikanischer Fotograf. Die Landschaften der USA, der majestätische Mississippi, die donnernden Niagarafälle, die weiten und offenen Wüsten, die kleinen Städte und Vororte: Alle haben die Struktur und den Rahmen für seine poetischen Studien über das amerikanische Leben geschaffen. Joachim Brohm ist bildender Künstler, der sich mit dem Medium der Fotografie ausdrückt und maßgeblich an der Entwicklung der Fotografie als Kunstform seit den 1980er Jahren beteiligt war. In seiner ersten, international viel beachteten Serie „Ruhr“ (1980-1983) dokumentierte er das Freizeitverhalten der Menschen am Ufer der Ruhr. Brohm gehört neben den Fotografen der Düsseldorfer Fotoschule zu den wichtigsten Fotokünstlern in Deutschland. In seinen oft dokumentarisch geprägten Arbeiten setzt er sich vor allem mit den Strukturen der Stadtentwicklung und der Stadtperipherie - mit allen sozialen, soziologischen, ökonomischen und kulturellen Implikationen - auseinander. Künstlerisch ausgebildet und geprägt wurde er an der Folkwang Hochschule in der Tradition von Otto Steinert und Michael Schmidt, aber auch durch sein Fulbright Stipendium an der Ohio State University, an der er Fotografie bei Allan Sekula studierte. Entwickelt und kuratiert wird die Ausstellung von Ralph Goertz, Leiter des IKS – Institut für Kunstdokumentation, der im NRW-Forum bereits mit den Ausstellungen Joel Meyerowitz Retrospective oder Lindbergh/Winogrand: Women on Street vertreten war.

artists & participants

Joachim Brohm,  Alec Soth 

curator

Ralph Goertz 
NRW-Forum, Düsseldorf

NRW-FORUM | Ehrenhof 2
40479 Dusseldorf

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posted 12. Jun 2019

Allora & Calzadilla - The Tropical Pharmacy

15. Mar 201923. Jun 2019
Working at the intersection of video, performance, and sculpture, artists Jennifer Allora (b. Philadelphia, USA, 1974) and Guillermo Calzadilla (b. Havana, Cuba, 1971) are a major reference in the art of the past two decades. The Tropical Pharmacy exemplifies the consistency and diversity of works made by the artists in Puerto Rico—a territory they investigate as a prism for geopolitical, ecological, and cultural history issues. The Bell, the Digger, and the Tropical Pharmacy (2013) spectacularly documents the demolition of one of the largest US-owned pharmaceutical manufacturing plants in the island, an event that is emblematic of its political and economic framework of colonial exceptionality. The dismantling of the facilities exemplifies the pace of capital flight in an “un-incorporated” US territory, while it illustrates the low levels of corporate accountability regarding the region’s resources. While the idea of a “tropical pharmacy” evokes the potential of the Caribbean-specific biodiversity, the expression ironically recalls Puerto Rico’s situation of abandonment and medical deprivation in the aftermath of its financial collapse and recent hurricane catastrophe. In their piece, Allora & Calzadilla intervene a bulldozer whose bucket gets replaced by a bell. The destruction of the manufacturing plant is thus turned into a singular form of sound performance marking this moment of closure. As the architecture crumbles, the bell signals what could be an epochal change, a twist of fate, an event of disease, or an ecological scandal. This screening alternates with Sweat Glands, Sweat Lands (2006), a video made in collaboration with musician René Pérez Joglar, a.k.a. Residente Calle 13. The enigmatic, brief scene is set in a partially built roasting structure or lechonera, where a man patiently smokes inside a vehicle that has itself been hacked as a barbecuing device. He rotates a pork roast using the gas pedal and we hear Residente’s vocal performance of a poem written by the artists, where descriptions of organic processes, prehistory, and capitalism chaotically intermingle with flashes of animal perception in a tropical ecosystem in crisis. This composite situation is rhythmically dominated by the drone of the car’s engine, and visually saturated by fumes coming from each character—car, driver, pig. Both projections are in continuous dialogue with Deadline (2007)—a 16mm film, made on the wake of hurricane George in San Juan, that captures a frond precariously dangling midair between two palm trees. Suspended from an unseen kite filament, the floating branch challenges gravity in its arrested fall, introducing an uncanny delay in the devastation of the landscape. As an articulated whole, The Tropical Pharmacy exemplifies Allora & Calzadilla’s characteristic operations where the functions of everyday objects are transformed, collaged, and reinvented within contexts of urgency. In their transformative drive, these works are responses to material despair and attempt to reactivate hope. Curated by Manuel Cirauqui

curator

Manuel Cirauqui 
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posted 11. Jun 2019

Roberto Matta and the Fourth Dimension

02. Apr 201930. Jun 2019
Roberto Matta and the Fourth Dimension 02.04.2019 - 30.06.2019 An exhibition of artist Roberto Matta (1911 – 2002) will take place in the White Hall of the General Staff Building in St. Petersburg from April 2 to June 30, 2019. This is the first time Russia will see the works of one of the last Surrealists, virtually unknown to the local audience. Roberto Antonio Sebastian Matta Echaurren was born in 1911 in Santiago, Chile. He was of mixed Spanish, Basque and French origin. A cosmopolitan artist, Matta lived and worked in South America, France, Mexico, the US, Italy, Spain and England. Urged by his parents who did not believe painting could be a serious enough occupation, Matta received a degree in Architecture at Catholic University in Santiago. While in the employ of Le Corbusier in Paris in the 1930s, he met the Surrealists and worked on his drawing. Andre Breton, who supported the young artist in his quest, wrote that "Matta had a unique way of showing the necessity to visually depict the four-dimensional universe. In his works, nothing is intentional anymore, everything comes from the desire to submerge into the area of the divine". Courage, thirst for knowledge, being open to new trends in art, deep psychological insight and keen interest in technical progress made Roberto Matta an outstanding figure in the world of art. That said, he never decisively joined any trend in painting: experimenting on the edge of art and science, he never became a "complete" Surrealist. His drive to rework Renaissance perspective with the help of the subconscious and the irrational distanced him from Abstract Expressionism as well. Rejecting the formal boundaries of style, Roberto Matta always checked his art with reality, trying to learn the depths of a human nature. Refusing to call himself an artist, Matta would say: "I'm not an artist. I'm somebody who tries to construct images that will once help us realize the essence of the verb 'to see'." Affected by the ideas of non-Euclidian geometry, Matta tried to give shape to the structures built in his mind, to create space beyond the visible, conventional perspective. After taking part in the International Surrealist Exhibition of 1938, largely thanks to his friendship with the English painter Gordon Onslow Ford, Matta started researching what he called "psychological morphologies." Ford introduced him to the works of Peter D. Ouspensky, a Russian philosopher and a theorist of the "fourth dimension." Matta shared Ouspensky's idea that the fourth dimension adds to the third dimension the feeling of space, of motion and of time that is essential for one to realize the constant and irreversible process of change in the world, where every new moment is different from the previous one. Ouspensky wrote in his book Tertium Organum (1912) that the human mind subconsciously "corrects" what the eye sees, in order to make up for the limitations of human vision. For example, mental concepts help us perceive volumes, though we only can see the outward surfaces of objects. According to Ouspensky, it is the artist who takes on the special role of a guide and a visionary, who "has to see what others cannot see" and "has to have the gift to open the others' eyes to what they cannot see themselves." In order to clarify his point, Ouspensky would often draw geometric lines, planes, cubes and spheres as metaphorical explanation of the human psyche. Matta took the latter's usage of geometry to describe unseen structures. Overcoming the limitations of human vision, he strived to create art that "can see more and further." Like many other artists, Roberto Matta moved to the United States after the start of the WWII. At about the same time, he started painting in oil. He arrived in New York in 1939, and his first US exhibition took place the next year at Julian Levy's gallery. Over time, Matta became interested in murals. His giant five-meter canvases – Landscapes of Mind – had a great impact on the younger generation of American artists, among them Jackson Pollock, Arshile Gorky and Robert Motherwell. Matta experimented a lot with materials; he created textured reliefs, and a series of works with fluorescent paint. He was among the first artists to utilize the principles of biomorphism, depicting creatures of nature as elements of functional technical devices. The State Hermitage exhibition will feature over 60 works showing Roberto Matta's unique understanding of space and the evolution of the artist who was able to find his own vison of the world through the fourth dimension and project it on canvas. The exhibition will be overseen by Dmitri Ozerkov, Ph.D., chief of the Contemporary Art department of the State Hermitage Museum, assisted by Oksana Salamatina in the USA who is also coordinating the logistics on behalf of the Hermitage Museum. An illustrated catalogue of the exhibition will be available in both Russian and English versions. The exhibition "Roberto Matta and the Fourth Dimension" is prepared by the Contemporary Art department of the State Hermitage as part of the "Hermitage 20/21" project, whose purpose is to collect, exhibit and study the art of the 20th and the 21st centuries.

artist

Roberto Matta 
State Hermitage Museum, St. Petersburg / RUS

THE STATE HERMITAGE MUSEUM | Dworzowaja Nabereschnaja 34
Saint Petersburg

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posted 10. Jun 2019

MINORU ONODA (1937-2008) Paintings : 1960s onward

07. Jun 201905. Jul 2019
opening: 06. Jun 2019 06:00 pm
MINORU ONODA (1937-2008) Paintings : 1960s onward Vernissage: Thursday, June 6, 2019 | 6 - 8 pm Friday, June 7th - Friday, July 5th. Paintings by Minoru Onoda from 1960s to 2000s will be presented for his second solo show in the gallery. Onoda became a fixture of the radically experimental Gutai association’s exhibitions from 1965 until its 1972 dissolution. In 1960 Onoda began to use pipes and sand to create textured paintings and experiment with circles and spheres. In the following year he briefly replaced rough surfaces by adding wood slats to his paintings which he covered with large dots as represented in the extremely rare 1961 painting SAKUHIN 61-13. Immediately thereafter he settled for smoothness and covered his paintings with arrangements of small dots to create optical illusions and movement. He experimented with gofun, a mouldable paste made from shell pigment, to create undulating surfaces. These blossom into meticulous, multi coloured, biomorphic dot paintings which he called ‘sky dreams’. In the 1970s Onoda explored the dynamic relationship between a human and his surroundings through geometric unity and simplicity of the circle. He often referred to himself as “the one who performs the circle”. He presents the circle’s endless proliferation as it journeys towards a perfect state of emptiness, silence. Later Onoda grew closer to Op art, painting larger, radiating planetary circles that float weightlessly, alone or in ordered groups, within seemingly monochrome, but detailed canvases teeming with increasing spheres. Onoda’s paintings were included in the two key survey exhibitions: ‘Gutai: The Spirit of an Era’ at the National Art Center, Tokyo (2012), and the Solomon R. Guggenheim Museum’s ‘Gutai: Splendid Playground’ (2013). A 230 page monograph has just been published by Scheidegger & Spiess, Switzerland in both English and Japanese editions. This survey of Minoru Onoda’s paintings follows the 2017 ground-breaking solo exhibition at the gallery, presentation at Frieze Masters’ Spotlight and participation in this year’s Taipei Dangdai and Draw Art Fair London. His paintings are in numerous museum collections, including Ashiya City Museum of Art and History, The Miyagi Museum of Art, Himeji City Museum of Art, Hyogo Prefectural Museum of Art, Japan; Museum Boijmans van Beuningen, Rotterdam (NL) and London’s Tate Modern (UK). * Minoru Onoda was born in 1937 and studied at The Institute of Fine Arts, Osaka, and The Osaka School of Art (1956-60). After joining the Gutai group in 1965, Onoda exhibited in group shows of contemporary Japanese art in Paris, California, Lausanne and The Hague, but predominantly within Japan and in all its major museums. He rarely sold to private collectors, but frequently to museums. Since his death in 2008, the founding members of the Gutai group have all obtained international renown and younger members of the Group continue to follow in their footsteps. The Gutai group (1954-1972), founded in Ashiya, was Japan’s first radical artistic movement after World War II. Formed against a background of social and political release after years of autocratic rule in Japan, its basic tenets were experimentation and the abandonment of rules: “Do what has never been done before” was the dictum of the group’s founder, Jiro Yoshihara. This influential group was involved in large-scale multimedia environments, performances, and theatrical events and emphasized the relationship between body and matter in pursuit of originality. By the time Onoda joined the group in 1965, the focus had shifted to the cultural changes rendered by the population explosion and technological advancements. The group was officially known as Gutai Bijutsu Kyokai (Art Association of Gutai). The gallery will be open as follows during Art Basel Week: Monday, June 10th: Open House 6 – 9 PM Wednesday, Thursday & Friday: 1 – 6 PM Saturday 11 AM – 4 PM And by appointment +41 79 392 7234

artist

Minoru Onoda 
Anne Mosseri-Marlio Galerie, Basel

ANNE MOSSERI-MARLIO GALERIE | Malzgasse 20
CH-4052 Basel

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posted 09. Jun 2019

Lotte Laserstein. Von Angesicht zu Angesicht

05. Apr 201912. Aug 2019
opening: 04. Apr 2019 07:00 pm
Lotte Laserstein. Von Angesicht zu Angesicht 05.04.2019 - 12.08.2019 Eröffnung der Ausstellung 04.04.2019 19:00 Uhr Die Berliner Malerin Lotte Laserstein (1898-1993) ist eine der sensibelsten Porträtistinnen der frühen Moderne zwischen Tradition und Innovation. Bereits als 30-jährige war sie eine berühmte und erfolgreiche Künstlerin. 1933 wurde ihre Karriere brutal beendet. Vom 5. April bis 12. August präsentiert die Berlinische Galerie 45 Gemälde und 11 Zeichnungen Lasersteins aus ihrer Berliner Erfolgsperiode und ihren schwedischen Exiljahren. Die vom Frankfurter Städel Museum organisierte und bis zum 17. März dort gezeigte Ausstellung Von Angesicht zu Angesicht wird vom Landesmuseum für Moderne Kunst, Fotografie und Architektur übernommen. In Berlin wird das Werk Lasersteins mit Porträts, Landschaftsbildern, Spätwerken und Bildern aus ihrem künstlerischen Umfeld der 1920/30er Jahre erweitert. Laserstein hatte das Talent, zwei Universen zu verbinden. Sie spielte mit Zitaten aus der Kunstgeschichte ebenso wie mit Flächigkeit und Pinselstrich des Spätimpressionismus. Sie war eine sanft-gefühlvolle Chronistin der 1920er und 30er Jahre: Sie malte Frauen und Männer der neuen Zeit und aller Klassen in ihrer ganzen Natürlichkeit - und setzte sich bildnerisch über damals normative Vorstellungen von Geschlechterrollen hinweg. Die Ausstellung wird unterstützt von der Senatsverwaltung für Kultur und Europa.
Berlinische Galerie, Berlin

BERLINISCHE GALERIE | Alte Jakobstraße 124-128
10969 Berlin

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posted 08. Jun 2019

Gene Beery

04. May 201930. Jun 2019
opening: 03. May 2019 06:00 pm
Gene Beery 04.05.2019 - 30.06.2019 Opening 03.05.2019 18:00 The exhibition Gene Beery gathers over 40 paintings from 1960 up to his most recent works. This retrospective, the very first institutional survey on Gene Beery’s career, is accompanied by a monographic publication. For more than 60 years, Gene Beery (*1937) has interrogated the moment of esthetic experience with humor and irony. What are the stakes of an encounter between a viewer and the work? What does the surface of the canvas promise to whoever looks at it? Beery positions himself with pictures to be read, whose phrases announce the arrival, the impossibility or the absurdity of such an experience. Behind the apparent lightness and sarcastic distance of his practice emerges a deep reflection on the existence of art and the role of the artist. In 1960 the artist made his first text paintings, unclassifiable works at the intersection of Fluxus, Minimalism, neo-Dada and assemblage. Three years later he left New York, going into exile in the California mountains, where he has worked ever since, on the margins of the art world. If his first New York paintings formed a true anti-painting revolt, the artist extended the field of his practice, beginning in 1965, to a figuration relieved of any ideological position. He thus anticipated painting’s many revivals in the decades that followed. Oscillating between figurative phases, the production of artist’s books and manifesto paintings, and the invention of glossolalias and neologisms, he undertakes a tongue-in-cheek job and makes puns that mock artistic genius and high art. His unique approach resonates with the avant-garde movements—poetic and artistic—of the 1950s–1960s, and with the most current artistic practices. Opening hours: Vernissage: 3 May 2019, 18:00 Monday and Tuesday: by appointment (info@fri-art.ch) Wednesday 12 am - 6 pm Thursday 12 am - 6 pm Friday 12 am - 6 pm Saturday and Sunday: 1pm - 6 pm With the support of: Ville de Fribourg Agglomération de Fribourg Canton de Fribourg Loterie Romande Pro Helvetia, Fondation suisse pour la culture Migros pour-cent culturel Liip AG Curator(s) Balthazar Lovay

artist

Gene Beery 

curator

Balthazar Lovay 
Fri Art Fribourg

Centre dart de Fribourg | Petites-Rames 22
CH-1701 Fribourg

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posted 07. Jun 2019

MEGAN ROONEY - Fire On The Mountain

18. May 201911. Aug 2019
opening: 17. May 2019 07:00 pm
MEGAN ROONEY - Fire On The Mountain 18.05.2019 - 11.08.2019 Eröffnung: 17.05.2019 19:00 Uhr Mit Fire On The Mountain richtet die Kunsthalle Düsseldorf die erste institutionelle Einzelausstellung der aufstrebenden Künstlerin Megan Rooney in Deutschland aus. Die 1985 geborene Kanadierin arbeitet medienübergreifend mit Malerei, Installationen, Performances und Sprache. In zumeist ortsspezifischen Arrangements werden die einzelnen Bestandteile zu einer raumgreifenden Gesamtinszenierung verknüpft. Mit prägnanter Handschrift entspinnt Rooney dabei enigmatische und stets intensive Narrationen. Aufgewachsen zwischen Südafrika, Brasilien und Kanada, lebt Rooney seit nunmehr zehn Jahren in London. Die Sujets ihrer Arbeiten zieht sie direkt aus dem Leben und ihrer Umgebung. Es handelt sich um entrückte, teils groteske Alltagserfahrungen und mitunter humorvolle Beobachtungen, um düstere Szenerien ebenso wie um leidenschaftliche Farbkompositionen. Ein wiederkehrendes Element in Megan Rooneys Werk ist der menschliche Körper, der als subjektiver Anfangspunkt und finaler „Ort“ der Sedimentation all dieser Erfahrungen eingeordnet werden kann. Ihre Gemälde und Installationen sind bevölkert von Gesichtern, einzelnen Körperteilen und eigentümlichen Charakteren. Auch die von der Künstlerin verwendeten Materialien spiegeln ihr Interesse an dem, was uns täglich umgibt, (an »alltäglichen Epen«;) an den Schönheiten und Niederträchtigkeiten des Alltags wider: Haushaltsgegenstände wie Putzlappen treffen auf Absperrmaterialien von Baustellen, ausgediente Ölfässer und Hundespielzeug auf Fundstücke aus dem urbanen Raum. Objekte, an denen wir in den meisten Fällen vorbeischauen, rücken hier ins Zentrum des Geschehens: Für Rooney liegt das Sublime im Banalen. Nach beeindruckenden Ausstellungsbeteiligungen und Performances u.a. in der Serpentine Gallery London, im Museum of Modern Art, Warschau und dem Palais de Tokyo in Paris entwickelt Megan Rooney für die Einzelausstellung in der Kunsthalle einen komplett neuen Werk-Korpus, dessen Zentrum ein raumgreifendes, ortsspezifisches Wandgemälde von 17 x 8 m bildet. Kuratiert von Anna Lena Seiser Begleitend zur Ausstellung erscheint im Juli 2019 die erste Monografie Megan Rooneys mit Textbeiträgen von u.a. Emily LaBarge (Autorin und Professorin am Royal College of Art, London) und Quinn Latimer (Kunstkritikerin und Herausgeberin der documenta14-Publikationsreihe „SOUTH“). PERFORMANCE Ein weiteres Element der Ausstellung ist die dreiteilige Performancereihe EVERYWHERE BEEN THERE, die Rooney in Kooperation mit der Choreographin Temitope Ajose-Cutting und dem Musiker Paolo Thorsen-Nagel entwickelte. Die Performance wird in drei aufeinander folgenden Kapiteln am 24., 25. und 26. Mai 2019 in der Ausstellung uraufgeführt. Performance-Reihe, Uraufführung: Fr, 24.5., um 20 Uhr, Einlass ab 19.30 Uhr Sa, 25.5., um 16 Uhr So, 26.5., um 12 Uhr Jedes Stück ist ein für sich stehendes Kapitel der dreiteiligen Performance. Choreographie: Temitope Ajose-Cutting Sound: Paolo Thorsen-Nagel Performerinnen: Temitope Ajose-Cutting, Leah Marojevic, Bonny Poon, Megan Rooney, Crystal Zillwood

artist

Megan Rooney 
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posted 06. Jun 2019

Listen To Us – Artistic Intelligence

04. Apr 201930. Jun 2019
Plowdiw 2019 – „Listen To Us – Artistic Intelligence“ Deutsche Telekom ist zu Gast in der Europäischen Kulturhauptstadt Plowdiw 04.04.2019 - 30.06.2019 Die Deutsche Telekom ist zu Gast in der Europäischen Kulturhauptstadt Plowdiw. Mit der Ausstellung „Listen To Us – Artistic Intelligence“ (4.04.-30.06.) zeigt das Unternehmen zeitgenössische Kunst aus Ost- und Südosteuropa. Die Telekom trägt damit zu einem weiteren Höhepunkt des Kulturprogramms bei. Mit Matera in Süditalien und Plowdiw in Bulgarien teilen sich zwei der ältesten Städte Europas den Titel „Europäische Kulturhauptstadt 2019“. „Listen To Us – Artistic Intelligence“ verweist 30 Jahre nach dem Fall des Eisernen Vorhangs auf die gemeinsame Geschichte der Länder Osteuropas. Die mehr als 80 Werke der Ausstellung machen die Erfahrungen der Menschen erlebbar. Und blicken über die nationalen Grenzen hinweg. Die Werke stammen von 40 Künstlerinnen und Künstlern. Sie sind in Osteuropa aufgewachsen. Und haben den Prozess des gesellschaftlichen Umbruchs in ihren eigenen Biografien stehen. Sie sind Zeitzeugen der großen, dramatischen und vieler kleiner Veränderungen der Gesellschaft. Antje Hundhausen ist für den Aufbau der Art Collection Telekom verantwortlich. Die Leiterin Brand Experience bei der Deutschen Telekom ordnet ein: „Die Ausstellung reflektiert 30 Jahre nach dem Fall des Eisernen Vorhangs die Zeit des Übergangs. Hier knüpft die Art Collection Telekom mit ihrem Schwerpunkt auf ost- und südosteuropäische Kunst an. Mit der Sammlung geben wir Einblicke in die Vielfalt und Reichhaltigkeit der künstlerischen und gesellschaftlichen Entwicklungen dieses Kulturraumes.“ Der erste Teil des Ausstellungstitels ist dem gleichnamigen Werk von Lito Kattou (*1990 in Nicosia) entlehnt. Die zypriotische Künstlerin inszeniert „Listen To Us“ als verspiegelten Schriftzug. Aufmerksamkeit fordert auch Sanja Iveković (*1949 in Zagreb). Die Kroatin ist eine der Pionierinnen der feministischen Kunst. Und arbeitet seit vielen Jahren mit Frauenhäusern auf der ganzen Welt zusammen. Mit der Serie „Sunglasses (Women‘s House)“ startete sie eine öffentliche Kampagne und machte auf Gewalt gegen Frauen aufmerksam. Dazu druckte sie auf Werbeposter für exklusive Sonnenbrillen schockierende Aussagen von Opfern häuslicher Gewalt. Die Gegenwart verstehen und in die Zukunft blicken „Listen To Us – Artistic Intelligence“ hinterfragt. Was können uns die Kunstwerke über Gegenwart und Zukunft mitteilen? Sie lenken die Aufmerksamkeit auf aktuelle europäische Fragen. Und versuchen sich der jüngeren Geschichte differenzierter zu nähern. Mit ihrer künstlerischen Intelligenz zeigen, umkreisen und beleuchten die Werke komplexe und widersprüchliche Themen. Neben der Art Collection Telekom sind auch Werke bulgarischer Künstlerinnen und Künstler zu sehen. Es handelt sich um Arbeiten aus den frühen 90er Jahren, wie beispielsweise von Albena Mihaylova-Benji (*1959 in Plowdiw) oder Sasho Stoitzov (*1952 in Blagoevgrad). Diese Exponate treten in den Dialog mit der Telekom-Sammlung. Die Ausstellungsorte erstrecken sich über Plowdiw. Sie bieten einen faszinierenden Einblick in die Stadtgeschichte. Dabei sind eine der ehemaligen Lagerhallen der Tabakindustrie und historische Häuser der Altstadt. Oder das städtische Museum im Zentrum. Zudem bietet die Vasov National Bibliothek, ein Meisterwerk der sozialistischen Spätmoderne, der Kunst ein vorübergehendes Zuhause. Die Deutsche Telekom ermöglicht die Ausstellung in Zusammenarbeit mit Plowdiw 2019, dem Goethe-Institut Bulgarien und der Open Arts Foundation Bulgarien. Die Kunstexperten Nathalie Hoyos und Rainald Schumacher kuratieren. Als Koordinatorin vor Ort unterstützt Dimitrina Petrova. Begleitende Führungen und Workshops wurden mit dem Folkwang Museum Essen erarbeitet. Plowdiw 2019 – „Listen To Us – Artistic Intelligence“ 4. April bis 30. Juni 2019 Ausgestellte Künstlerinnen und Künstler: Nevin Aladağ, Anatoly Belov, Luchezar Boyadjiev, Yane Calovski, Levan Chelidze, Danica Dakić, Braco Dimitrijević, Aleksandra Domanović, Petra Feriancova, Igor Grubić, Aneta Grzeszykowska, Nilbar Güreş, Vladimir Houdek, Hristina Ivanoska, Pravdoliub Ivanov, Sanja Iveković, Nikita Kadan, Mi Kafchin, Šejla Kameric, Lito Kattou, Luka Kedžo, Genti Korini, Eva Kot’átková, Maria Kulikovska, Nino Kvrivishvili, Radenko Milak, Ciprian Mureşan, Lada Nakonechna, Vlad Nancă, Paulina Ołowska, Roman Ondak, Dan Perjovschi, Cristian Răduţă, Stepan Ryabchenko, Slavs & Tatars, Nedko Solakov, Mladen Stilinović, Martina Vacheva. Eingeladene Künstlerinnen und Künstler: Dimitar Genchev, Albena Mihaylova-Benji, Sasho Stoitzov, Krassimir Terziev.
City Gallery of Fine Arts, Plovdiv

City Gallery of Fine Arts, ul. "Saborna" 14А
4000 Plovdiv

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posted 05. Jun 2019

Lawrence Carroll "Moments"

24. May 201913. Jul 2019
opening: 24. May 2019 06:00 pm
Lawrence Carroll "Moments" 24.05.2019 - 13.07.2019 Preview on Friday, May 24, 2019, 6 - 8 p.m. Introduction by Uwe Gellner, curator of the collection Kunstmuseum Magdeburg Galerie Karsten Greve is pleased to present Moments, an exhibition of works by the American artist Lawrence Carroll, whom the gallery has represented since 1999. On display are works from the past five years, including never-before exhibited objects from the artist’s studio. Also in May of this year, he is opening his first exhibition of photographic works in the Rolla Foundation, Bruzella, Switzerland. Lawrence Carroll characterizes himself as a painter who carries a thousand painters in himself, regarding his entire œuvre as a painting. The majority of the works, which he calls ‘paintings’, however, look like wall objects. They are painting and sculpture at the same time, their plasticity goes beyond the traditional concept of a picture. His works reveal themselves as ‘painterly construction’ in whose structure or surface the artist incorporates objects or materials and thus destroys them, before reassembling them or ‘repairing’ them, as he himself says. Using simple materials such as dust, the quest for reduction and the installation of artworks in space, Lawrence Carroll is close to the aesthetics of Arte Povera. The use of traditional technical means such as oil paint and raw materials such as wood, wax and canvas corresponds to the colourfulness of his work. On closer inspection, they reveal an infinitely subtle nuance in off-white, beige, hazy yellow, atmospheric blue-green, and black. The Cologne exhibition bears the title Moments and seeks to make beholders aware that Lawrence Carroll understands his works and groups of works as an expression of a decisive moment, which he has tried to capture: ‘I have been interested in the impossibility of holding a moment, for a long time. I know in this search I am not alone. The simple things that interest me are almost always out of my reach. What starts out simple is revealed over time to be extraordinarily complex. An infinite labyrinth.” Lawrence Carroll makes it clear that he only develops his works during the work process itself: ‘Painting has these unpredictable moments and that is what they must stay for me, unpredictable. There can be routine in many ways in my life and studio but not when I paint.’ Through his poetic expression, based on human experience, he transforms the simplest materials into effective metaphors of transience. Born in Melbourne in 1954 to Australian-Irish parents, Lawrence Carroll grew up in California. He studied at the Art Center College of Design in Pasadena, California in the 1970s; later he moved to Los Angeles and New York. Thanks to Harald Szeemann, who invited him to the 1989 exhibition Einleuchten in the Deichtorhallen in Hamburg, Lawrence Carroll became well known in Germany at the end of the eighties. Water – a metaphor of life subject to constant change – was for the first time an integral part of his work I hear the ice melting, which was shown in 1992 at DOCUMENTA IX in Kassel. He participated in the 55th Venice Biennale in 2013 by being invited (along with two other artists) to design the Vatican Pavilion. For many years the artist has lived and worked in Italy and in the USA. The artist's favourite element of water was also a source of inspiration for the works exhibited in Cologne. By drawing water with his eyes closed, the artist learned to observe movements of the water with his mind’s eye, so that his drawings are reflections of a memory landscape that relates to mental images. This abstraction method results in the Black Mirror Paintings: a black painted surface made of wax and wood was polished and scratched again with a scalpel to leave delicate but unalterable traces. The frame is seemingly broken and can no longer define the boundaries of the painting. The surfaces of the Grotte Paintings are permeated by a hazy atmosphere that changes into blue pastel colours like an unpredictable misty mood over the ocean. In the richly nuanced monochrome White Oval Paintings, Lawrence Carroll sees a hazy sky with human features that turns rain into tears. On the opaque oval surface, which is surrounded by an untreated, fragmented frame, clouds are constantly shedding tears in a frozen waterfall. The perception remains shadowy, the work is transitory, a metaphor of transience.
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posted 04. Jun 2019

KLAUS RINKE. Die vierte Kraft

29. Mar 201923. Jun 2019
KLAUS RINKE. Die vierte Kraft 29.03.2019 - 23.06.2019 Klaus Rinke (geb. 1939), zentrale Figur der Düsseldorfer Kunstszene um Joseph Beuys, gilt als „Universalkünstler“, der in nahezu allen Medien arbeitet. Das MKM stellt erstmals Rinkes Zeichnungen in ihrer ganzen Bandbreite ins Zentrum einer Ausstellung. Einzigartig sind die riesigen Formate, in denen der Künstler seine Grafitbilder und „gezeichneten Malereien“ realisiert. Mit Dimensionen von mehreren Metern füllen sie ganze Räume. Daneben stehen zahlreiche kleinformatige Studien aus sechs Jahrzehnten. Insgesamt rund 300 Werke stellen die außerordentliche Bedeutung und die Eigenständigkeit heraus, die der Zeichnung innerhalb von Rinkes künstlerischem Schaffen zukommt. In ihnen verdichtet sich anschaulich das Interesse des Künstlers am Wesenskern der Welt: Zeit und Raum, Körper und Schwerkraft, Ursprünglichkeit von Wesen und Form, Prozess und Handlung – oder in den Worten von Klaus Rinke: „Im Krickelkrakel liegt die ganze Welt. Du brauchst Vorstellungsvermögen, um es zu erkennen, und dann die Fähigkeit, es in die Welt zu setzen.“ Klaus Rinke, gebürtiger Wattenscheider (*1939), ist ausgebildeter Plakatmaler, Vorreiter der Prozesskunst und mehrfacher documenta- und Biennale-Teilnehmer. Seine Werke wurden weltweit ausgestellt (u.a. in Einzelausstellungen im New Yorker MoMA, der Wiener Sezession oder der Hagia Sophia in Istanbul) und finden sich in namhaften nationalen und internationalen Sammlungen. Der Künstler lebt und arbeitet nahe Linz/Österreich und unterhält ein Atelier in Los Angeles/Kalifornien. Die Ausstellung findet im Rahmen der Reihe AKADEMOS statt, mit der das MKM die Professoren der Kunstakademie Düsseldorf würdigt, an der der Künstler 30 Jahre lang lehrte. Kurator: Robert Fleck, Prorektor der Kunstakademie Düsseldorf

artist

Klaus Rinke 

curator

Robert Fleck 
MKM Museum Küppersmühle, Duisburg

MKM Museum Küppersmühle für Moderne Kunst | Philosophenweg 55
47051 Duisburg

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posted 03. Jun 2019

Soto to Vigas

30. May 201931. Jul 2019
Soto to Vigas 30.05.2019 - 31.07.2019 Gary Nader Art Centre is featuring for the first time the work of two of the 20th century’s most influential Venezuelan artists.

artists & participants

Jesus Rafael Soto,  Oswaldo Vigas 
Gary Nader Art Centre, Miami

62 NE 27th St
FL 33137 Miami

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posted 02. Jun 2019

THORSTEN BRINKMANN - Misstallica & Vaslanten

23. May 201923. Jun 2019
THORSTEN BRINKMANN "Misstallica & Vaslanten" Exhibition dates: May 23rd - June 23rd, 2019 Pablo’s Birthday is pleased to announce Thorsten Brinkmann’s third Solo Exhibition at the gallery, "Misstallica & Vaslanten”. Thorsten Brinkmann has been collecting found objects for than more than 20 years. With these sediments of modern culture he moves between the genres of photography, sculpture, performance, and installation art referencing motifs of art history such as still life, portrait, and landscape, while interrogating the languages they employ. Photographic self-dramatization, in which the artist functions as an actor, director, and photographer in one, creating images in the solitude of his studio with a self-timer, is one of his areas of focus. Wrapped up in used clothing and found objects from everyday life, he transforms himself into anonymous, sometimes androgynous figures that appear as objects – sculptural figures – that allude to compositions by old masters. The photographs are part of the long tradition of self-portraits by artists, but he practically explodes the accompanying myths by hiding his countenance and emptying them of any recognizable individuality such that they reference portraiture itself, and thereby the very question of representation. In his latest works he began to produce photo-assemblages, were he combines photo-works with his found objects extending them into the space. With this 3rd dimension he opened a new chapter in his work. The latest development are material pictures in big glass cases, which show landscapes done with objects collected in the urban landscape. Pablo’s Birthday recently featured Brinkmann’s work as a solo presentation at The Armory Show 2019 in New York. The installation focused on his latest works in a kind of Gesamtkunstwerk or “total work of art”, in the tradition of Kurt Schwitters - This new exhibition follows in the same vein by painting parts of the wall in combination with artist made wallpaper elements, and installing various objects, the space becomes a conceptual armature referencing a fictional place from which all these works came. The exhibition will also showcase a new still-life series titled Vaslanten. Thorsten Brinkmann was born in Herne, Germany in 1971, and lives and works in Hamburg. He studied Visual Communication at Kunsthochschule Kassel and Fine Arts at Hochschule für Bildende Künste, Hamburg. In 2011, Brinkmann received the Finkenwerder Art Prize, “awarded to artists who have made an extraordinary contribution to contemporary art in Germany.” Brinkmann has had solo exhibitions in Belgium, Germany, The United States, and Mexico. His work is represented in museums throughout Europe and was included in Beyond Borders, The Fifth Beaufort Triennial, Belgium (2015); and Dress Codes: The Third ICP Triennial of Photography and Video, International Center for Photography, New York (2009).
Pablo´s Birthday, New York

526 Canal Street
NY 10013 New York

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posted 01. Jun 2019

Nancy Spero. Paper Mirror

31. Mar 201923. Jun 2019
Nancy Spero. Paper Mirror 31.03.2019 - 23.06.2019 MoMA PS1 Artist and activist Nancy Spero (American, 1926–2009) produced a radical body of work that confronted oppression and inequality while challenging the aesthetic orthodoxies of contemporary art. Spero drew on archetypal representations of women across various cultures and times in an attempt to reframe history itself from a perspective that she termed “woman as protagonist.” Organized by artist and curator Julie Ault, Paper Mirror traces the full arc of Spero’s artistic evolution, bringing together more than 100 works made over six decades in the first major museum exhibition in the US since the artist’s death in 2009. Spero began her career as a figurative painter in Paris during the 1950s; for her, choices of material, form, and subject were always political. In the 1960s, faced with the atrocities of the Vietnam War, she concluded that painting had become “too conventional, too establishment.” Abandoning canvas for paper, Spero’s The War Series (1966–70) conveyed her outrage in depictions of sexualized bombs that personified the gendered brutality of the conflict. From 1966 onward, she worked primarily on paper―pinning her fragile compositions directly to the wall―and women’s history gradually but emphatically became the central subject of her art. In her scroll-like compositions of the early 1970s, Spero appropriated the French poet Antonin Artaud’s language of “cruelty” to evoke her self-described “loss of tongue” as a female artist in a male-dominated art world. Placing fragments of text alongside female figures derived from a vast range of sources across history, Spero probed the gendered relationship between language and power. Using hand printing, she recycled and transposed a recurring cast of figures that dance, glide, leap, run, and tumble from one work to the next. Collaged together from mythology, folklore, art history, literature, and media―and presented in increasingly experimental formats, from scrolls to friezes and room-sized installations―Spero described her works as “ephemeral monuments” to the full range of women’s experience: tragic and triumphant, degraded and powerful, victimized and liberated. Nancy Spero: Paper Mirror surveys the full scope of Spero’s career, including her Black Paintings of the 1950s; the War Series of the 1960s; the Artaud works of the 1970s; the Licit Exp and Hours of the Nights series of 1974; as well as numerous works from the 1980s, 1990s, and 2000s. The MoMA PS1 presentation of the exhibition will include the artist’s monumental work Notes in Time on Women (1979–81), a 200-foot-long frieze from the collection of The Museum of Modern Art, on view for the first time in more than a decade. Also featured is the large-scale installation Maypole: Take No Prisoners (2007), the last major work the artist completed before her death, originally realized for the Venice Biennale. Installed in MoMA PS1’s first-floor Duplex gallery, the work consists of a 20-foot vertical steel pole from which images of decapitated heads are suspended by ribbons and metal chains. Created during the Iraq War but derived from Spero’s earlier drawings that responded to the Vietnam War, Maypole provokes inquiry into the cyclical nature of history, war, and its victims. In addition, the exhibition includes a selection of documentary films by Irene Sosa, which feature original footage of Spero at work. This exhibition is a part of Spring 2019. Nancy Spero was born in Cleveland, Ohio, and graduated from the School of the Art Institute of Chicago in 1949. She trained at the Ecole des Beaux-Arts in Paris, where she lived from 1959 until 1964. Spero, her husband (the painter Leon Golub), and their three sons eventually settled in New York City, where she lived until her death in 2009. As an activist, Spero participated in the Women Artists in Revolution (WAR) and the Art Workers Coalition in the 1960s and in 1972 cofounded A.I.R. Gallery, the first independent women’s art venue in the US. As an artist, her work was widely exhibited in her lifetime and has been the subject of numerous monographic museum exhibitions over the past decade, including major retrospectives at the Centre Pompidou, Paris; Serpentine Gallery, London; Museum der Moderne, Salzburg; Museo d’art Contemporani de Barcelona; and the Museo Nacional Centro de Arte Reina Sofia, Madrid. Since the 1980s, she has been included in dozens of major group exhibitions, including the Venice Biennale, Documenta, and the Whitney Biennial. Julie Ault (American, b. 1963) is an artist, curator, writer, and editor whose work frequently adopts curatorial and editorial activity as creative practice. Ault has long engaged Spero’s work in writing, publications, and exhibitions. She was a cofounder of the art collective Group Material (active between 1979 and 1996), and her work as an artist and curator has been exhibited at the São Paulo and Whitney Biennials and at such venues as Artists Space, the Weatherspoon Art Museum, and the Secession, Vienna, among others. Her book Alternative Art New York, 1965–1985 (2002) documents the critical role that alternative art groups and spaces played in the development of politically progressive and inclusive practices. Her additional publications include Show and Tell: A Chronicle of Group Material (2010), Two Cabins by James Benning (2011), and In Part: Writings by Julie Ault (2017). In 2018 Ault was named a Fellow of the MacArthur Foundation. Organized by the Museo Tamayo. The exhibition is curated by Julie Ault and organized at MoMA PS1 by Peter Eleey, Chief Curator, with Oliver Shultz, Curatorial Associate, MoMA PS1.

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Nancy Spero 
MoMA PS1, Long Island City

MoMA PS1 | 22-25 Jackson Ave. at 46 Ave., Queens
NY 11101 Long Island City

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posted 31. May 2019

Mandy El-Sayegh

12. Apr 201909. Jun 2019
opening: 11. Apr 2019 06:30 pm
Mandy El-Sayegh 12.04.2019 - 09.06.2019 Opening: Thursday 11.04.2019 18:30 - 20:30 A major new commission and first solo exhibition in an institution by London-based artist Mandy El-Sayegh. El-Sayegh’s prolific large-scale paintings and installations move between linguistic, material and corporeal registers, creating double meanings that signal a breakdown in, or disturbance of, everyday systems and orders. For her new commission El-Sayegh combines her distinctive painterly gestures with silk-screen print, latex, found objects and images. The resulting group of work traces a process whereby El-Sayegh examines an alternative formalism which originates with the body. Biography: Mandy El-Sayegh lives and works in London. Selected exhibitions include: The Mistake Room, Guadalajara, Mexico, (2018); Figured Ground: Meshworks, Carl Kostyal, London; Sharjah Biennial 13: Tamawuj, Sharjah, UAE (both 2017); and Taking Part; this is a sign, Carlos/Ishikawa, London (2016). In 2017 El-Sayegh was shortlisted for the Max Mara Art Prize for Women in collaboration with the Whitechapel Gallery, London. Chisenhale Gallery’s Commissions Programme 2017–19 is supported by the LUMA Foundation.
Chisenhale Gallery, London

64 Chisenhale Road
GB-E3 5QZ London

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