daily recommended exhibitions

posted 21. Aug 2018

Natalie Häusler. Honey

23. Jun 201823. Sep 2018
opening: 22. Jun 2018
Natalie Häusler. Honey 23.06.2018 – 23.09.2018 Am 22. Juni 2018 eröffnet im KIT – Kunst im Tunnel die Ausstellung Natalie Häusler. Honey. Hierbei handelt es sich um die vierte Einzelschau innerhalb des elfjährigen Bestehens des Hauses, das mit seiner außergewöhnlichen Raum-Architektur eine Herausforderung wie auch eine besondere Chance für junge Künstler*innen bietet. Die intensive Auseinandersetzung mit der Tunnelarchitektur begann für Natalie Häusler (*1983) schon vor Monaten. Ihre künstlerische Position beinhaltet folgenden Arbeitsansatz: Sie konzipiert Räume, Environments oder Umgebungen, in denen Objekte und Sprache organisch zusammenkommen. Malerei und das geschriebene Wort bilden hierfür die Ausgangsposition, die zwischen Dichtung und bildender Kunst angesiedelt ist. Im Laufe eines Arbeitsprozesses integriert die Künstlerin dann skulpturale, malerische, funktionale und klangliche Elemente in ihr Konzept. Für Honey bildet der Roman de la Rose, ein ursprünglich im Mittelalter verfasstes französisches episches Prosagedicht, die Ausgangsbasis. Der Text war zu seiner Zeit sehr populär und hat gleichzeitig eine der ersten belegten Formen feministischer Literaturkritik ausgelöst: Christine de Pizans Querelle du Roman de la Rose. Die Handlung umfasst einen langen Traum, der sich in einem verschlossenen (Lust-)Garten abspielt und durch ausgeklügelte Allegorien in die Kunst der höfischen Liebe einführt, wobei die Rose für die weibliche Sexualität steht. Im KIT schafft Natalie Häusler durch selbst verfasste Verse auf Basis des mittelalterlichen Originals einen verschlossenen Garten, in dem Angst, Faszination, Liebe und Religion verkörpert werden durch Bilder, Objekte und Sound. Diese allegorischen Figuren stehen für eine zeitgenössische Umschreibung und Transformation von Texten, die der Künstlerin bei ihren literarischen Recherchen begegnen. (So bezieht sich der Titel der Ausstellung sowohl auf ein Werk des Psychoanalytikers Jacques Lacan als auch auf das Gedicht The Honey Bear von Eileen Myles.) Anders als die höfische Gesellschaft, die das Idealbild des Zier- oder Lustgartens als Staffage zur Darstellung ihres überfeinen Lebensstils nutzte, weicht der von Natalie Häusler geschaffene Raum nicht ab vom alltäglichen Leben. Der Besucher trifft hier auf die Gefühle und Gedanken der Künstlerin; er kann, auch interaktiv, teilhaben an ihrem Werk. Kuratiert von Anna-Lena Rößner
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posted 20. Aug 2018

Mary Heilmann

23. Jun 201823. Sep 2018
Mary Heilmann 23.06.2018 - 23.09.2018 ‘Memory Remix,’ Mary Heilmann’s first Los Angeles solo exhibition in over 20 years, is a survey of paintings, ceramics, and furniture in which the artist’s unwavering dedication to abstraction merges with sly references to her favorite landscapes, songs, movies, and Mexican weavings. This preeminent American artist is acclaimed for her unique ability to deploy the analytical geometries of Minimalism with the spontaneous freehanded spirit of the Beat Generation from which her generation emerged, and for her weaving of pop culture influences into a wholly original and pioneering oeuvre. Heilmann’s deft handling of paint and spatially dichotomous compositions have exerted a profound influence upon a younger group of artists. Born and raised in California, Heilmann studied at the University of California at Santa Barbara and Berkeley. In 1968, she moved to New York City to immerse herself in the contemporary art scene. Over the course of the ensuing decades, she has emerged as a significant American master not only through her practice, but also through her teaching and lectures. Heilmann currently lives and works in New York City and Bridgehampton, New York. Grounded in the soul of California, Mary Heilmann’s work draws from her memories of the distinctive colors and lines of the West Coast’s landscape and surf culture. Throughout a childhood accompanied by the radio’s ubiquitous soundtrack, Heilmann often watched the ocean tumble to the shore, rode the ‘mountain waves’ at Manhattan Beach, and read Allan Ginsberg’s ‘Howl’ and Walt Whitman’s ‘Leaves of Grass,’ which stoked her great admiration for poetry, jazz, and the idea of the Beats. Under these influences and through the deceptively simple means of painting – color, surface, and form – Heilmann physically manifests nostalgic impulses, memories, and allusions to popular culture that remain accessible on both personal and universal levels. In this way, her work transcends the seemingly opaque structures of geometrical abstraction by infusing it with the content of daily life. While studying sculpture and ceramics in 1963 at the University of California Berkeley, Heilmann exclusively produced three-dimensional works. But her exposure to painter and visiting professor David Hockney would leave a deep impression upon the younger artist, shaping her artistic development in ways that only revealed themselves after her relocation to New York City in 1968. Moving to the East Coast prompted a paradigmatic shift in Heilmann’s career from sculpture to painting. While the latter medium was proclaimed ‘dead’ by contemporary artists and critics, Heilmann undertook a conscious effort to ambush expectations, contradict art historical traditions, and provoke conversation by prioritizing a loose handling of paint and evidence of her hand and process within each work. These goals ultimately served not only to advocate for painting as a medium, but also to disrupt prevailing theories of the hard-edge and color field movements of the 1960s and ‘70s. Heilmann’s early influences in California remained dormant in her life and work for many years in paintings that innovatively navigate between abstraction and allusion. ‘Waves and Particles’ (1989), for example, illustrates her early interest in physics and speaks to her study of the ocean’s patterns and geometries through a bold palette mimicking the vibrancy of West Coast mid-century modern architecture and design. ‘Waves and Particles’ also employs a shaped canvas – a format similar to that associated with the work of her contemporaries, but unique in that Heilmann’s composition is not determined by the shape of the canvas. The boundaries of her works are thus not closed but open, and in dialogue with surrounding space. ‘Ray’ (2017), a shaped painting comprising two canvases, takes cues from its white-walled environment, illustrating the very ray of light by which it is illuminated. The stepped orientation of the two conjoined panels provides more area for the image to expand into the lower right corner, and also creates a highly dynamic composition, differing from standard rectangular works. While many of her peers were exploring a similar approach to painting at the time, Heilmann distinguished her use of the shaped canvas by abandoning the rigid structure of geometrical abstraction often paired with it, in exchange for a more content driven and spontaneous gesture. ‘Chinatown’ (1976) encapsulates Heilmann’s early investigation of color theory, inspired by Joseph Albers and her assimilation into the New York scene. Comprising two panels, both proportional to doors or points of entry, this work serves as a metaphor for the artist’s introduction to a new city, a tribute to her East Coast artistic community, and an homage to her neighborhood. Each seemingly identical canvas has an underpainting of a different color, one blue and the other yellow, as seen on the edges of the canvases. Such modulations of hue are intensified by their placement next to one another, further illustrating Heilmann’s ability to infuse hard-edge abstraction with personal meaning and historical references. The emphasis on interaction in her work, whether personal, art historical, or aesthetic, also takes on phenomenological form by way of Heilmann’s furniture works. Performing a function within the gallery space, each is a three-dimensional painting that weaves the artists’s ideology into the everyday. Since Heilmann’s paintings require prolonged observation for every detail and internal relationship to reveal itself, she has been known to fabricate chairs, such as ‘Clubchair 85’ (2014) and ‘Rietveld-Remix #10’ (2017), for her exhibitions, providing viewers with a still place from which to contemplate her work. While the term ‘remix’ repeatedly occurs in many of the artist’s titles — referencing the rejuvenation of an outdated tune or revival of an artistic strategy —‘Rietveld-Remix’ refers to the work of Dutch furniture designer and architect Gerrit Rietveld, who championed primary colors and streamlined designs that could be seen as forerunners of Heilmann’s. In this way, Heilmann often enacts a dialogue with her sources of inspiration through titular references to artists, musicians, and popular culture. As such, ‘Blood on the Tracks’ (2005), ‘Lionel Hampton’ (2002), and ‘Bush of Ghosts’ (1980) invoke her love of music and meditate on its emotional and nostalgic qualities. ‘La Cienega’ (2010), ‘Rio Nido’ (1987), and ‘Ming’ (1986) allude to the outside world – the streets of Los Angeles, a rural town in Northern California, and Chinese blue and white porcelain vases of the Ming Dynasty. While such references hold specific meaning for viewers, their exact significance for Heilmann can only be deduced through a visual analysis and reflection upon her personal history. Each title provides an anchor for the deliberate ambiguity of her imagery and serves as a point of entry into the work. ‘Every piece of abstract art that I make has a backstory,’ Heilmann has said, ‘I started giving the pieces fanciful titles that related to some kind of narrative that was going on with me. So the titles are often like a three-word poem that is part of the piece.’


Mary Heilmann 
Hauser & Wirth Los Angeles °

901 East 3rd Street
CA 90013 Los Angeles

United States of Americashow map
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posted 19. Aug 2018

That’s IT! On the newest generation of artists in Italy and one meter eighty from the border

22. Jun 201811. Nov 2018
That’s IT! On the newest generation of artists in Italy and one meter eighty from the border 22.06.2018 - 11.11.2018 MAMbo – Museo d'Arte Moderna di Bologna opens its new seasons in the main venue—Sala delle Ciminiere—with That’s IT! On the newest generation of artists in Italy and one meter eighty from the border, an exhibition curated by Lorenzo Balbi and showcasing works by 56 artists and collectives born in 1980 or later, an exploratory journey through different media and languages. Clearly generational in tone, the exhibition explores the latest developments of art in Italy, consistently with the specific position that MAMbo decided to take on the Italian and international scene. That’s IT! (IT as the EU code that stands for Italy) deliberately chooses not to revolve around a single, monolithic concept, instead it comes up with questions, potential perceptions of the contemporary world from an open, dialectic, magmatic perspective. Does it still make sense nowadays to speak of an “Italian” artist? What defines “Italian-ness”? Does such definition have consequences on an artist’s self-representation? Where and how do we put the generational boundary? The exhibition offers some cues. It includes artists born in Italy and working in Italy; born in Italy and working abroad; born in Italy and working both in Italy and abroad; born abroad and working in Italy; born abroad and working abroad but who have studied in Italy. Such a wide variety of potential combinations of birthplaces, places to study and places to work in is the epitome of a fluidity that shies away from barriers and easy labels, which we can sense in the subtitle of the exhibition, from Arte e confini by Bruno Munari (Codice ovvio, 1971). The works on display at MAMbo, which include installations, videos, photography, sound art, sculptures, performances, paintings, works on paper, are set in an open layout, with no barriers, that appropriates and contaminates all the areas of the Museum and even outside of it, with art installations in the adjoining Parco del Cavaticcio and a number of videos screened at Cinema Lumière, in partnership with Fondazione Cineteca di Bologna, works showed on the Instagram profile of MAMbo and among the pages of the Edizioni MAMbo book that accompanies That's IT!. Artists and collectives from the older to the younger one: Matilde Cassani (1980), Giuseppe De Mattia (1980), Margherita Moscardini (1981), Michele Sibiloni (1981), Riccardo Benassi (1982), Ludovica Carbotta (1982), Danilo Correale (1982), Andrea De Stefani (1982), Giulio Squillacciotti (1982), Marco Strappato (1982), Carlo Gabriele Tribbioli (1982), Ian Tweedy (1982), Invernomuto (Simone Trabucchi, 1982 and Simone Bertuzzi, 1983), Francesco Bertocco (1983), Giovanni Giaretta (1983), Lorenzo Senni (1983), Alberto Tadiello (1983), IOCOSE (Filippo Cuttica, 1983, Davide Prati, 1983, Matteo Cremonesi, 1984 and Paolo Ruffino, 1984), Elia Cantori (1984), Giulio Delvè (1984), Elena Mazzi (1984), Diego Tonus (1984), Calori&Maillard (Violette Maillard, 1984 and Letizia Calori, 1986), Federico Antonini (1985), Alessio D’Ellena (1985), Nicolò Degiorgis (1985), Riccardo Giacconi (1985), Adelita Husni-Bey (1985), Diego Marcon (1985), Ruth Beraha (1986), Elisa Caldana (1986), Roberto Fassone (1986), Francesco Fonassi (1986), Petrit Halilaj (1986), Andrea Kvas (1986), Beatrice Marchi (1986), The Cool Couple (Niccolò Benetton, 1986 and Simone Santilli, 1987), Filippo Bisagni (1987), Benni Bosetto (1987), Lia Cecchin (1987), Alessandro Di Pietro (1987), Stefano Serretta (1987), Giulia Cenci (1988), Tomaso De Luca (1988), Julia Frank (1988), Marco Giordano (1988), Orestis Mavroudis (1988), Valentina Furian (1989), Parasite 2.0 (Stefano Colombo, 1989, Eugenio Cosentino, 1989 and Luca Marullo, 1989), Alice Ronchi (1989), Emilio Vavarella (1989), Irene Fenara (1990), Angelo Licciardello (1990) & Francesco Tagliavia (1992), Caterina Morigi (1991), Margherita Raso (1991), Guendalina Cerruti (1992). That’s IT! On the newest generation of artists in Italy and one meter eighty from the border has been supported by Hera, the main sponsor, by the sponsor Gruppo Unipol and by Regione Emilia-Romagna. The exhibition is part of BE Here. Bologna Estate, the summer programme of events promoted and coordinated by the Municipality of Bologna. Curatorial assistants: Sabrina Samorì and Stefano Vittorini.
MAMbo Bologna °

Via Don Minzoni 14
I-40121 Bologna

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posted 18. Aug 2018

Shigeru Ban

11. May 201808. Oct 2018
Shigeru Ban Offsite: Shigeru Ban 11.05.2018 - 08.10.2018 The Vancouver Art Gallery presents Offsite: Shigeru Ban. This exhibition organized by the Gallery’s Institute of Asian Art features the full-scale version of renowned Japanese architect Shigeru Ban’s Kobe Paper Log House at the Gallery’s Offsite location (1100 West Georgia Street). Under the direction of Shigeru Ban, the Gallery has built a version of his 15.8 square-meter Kobe Paper Log House utilizing readily sourced materials. Founder of the Voluntary Architects Network, Ban designed the Kobe Paper Log House as disaster relief shelter with his extensive knowledge of recyclable materials, particularly of paper and cardboard. This exhibition also features a large photomural documenting Ban’s ongoing design work on global disaster relief projects—work that in 2017 earned him the Mother Theresa Award. In 1995, the coast of Japan was hit by a 6.9 magnitude earthquake, with the major port city of Kobe as its epicentre. Over 6,000 people were killed, and 200,000 lost their homes. At the time a young Tokyo-based architect, Ban responded to the urgent need for temporary relief shelter by designing the Kobe Paper Log House, which served to house thousands of displaced Kobe residents. Since its creation, Ban has been called on by such organizations as the United Nations to develop his innovative structures, regarded for their low cost, easy accessibility and simple application. “For more than 20 years, Shigeru Ban’s designs have served as a prototype for housing displaced peoples caught in the grips of natural disasters and war around the world,” says Kathleen S. Bartels, Director of the Vancouver Art Gallery. “Based in a city known as a hub for green design and architecture, where the threat of an earthquake remains integral to building design choices, the Gallery invites visitors to see up-close this remarkable work of sustainable design that has improved the lives of so many.” Offsite: Shigeru Ban is organized by the Vancouver Art Gallery's Institute of Asian Art and curated by Bruce Grenville, Senior Curator. About the artist Born in Tokyo in 1957, Shigeru Ban attended the Southern California Institute of Architecture from 1977 to 1980 and later, the Cooper Union School of Architecture where he met Dean Maltz, his New York Partner. In 1985, Shigeru Ban Architects was established in Tokyo. When Ban discovered that the two million refugees from the 1994 Rwandan Civil War were forced to live in appalling conditions, he proposed his design for paper-tube shelters to the United Nations High Commissioner for Refugees and was hired as a consultant. After the Kobe Earthquake in 1995, he built the Kobe Paper Log House for displaced Vietnamese refugees who did not have access to temporary housing provided by the Japanese government. Shigeru Ban was awarded the prestigious Pritzker Architecture Prize in 2014 and the Mother Theresa Award in 2017. About Offsite Offsite is the Vancouver Art Gallery’s outdoor public art space located at 1100 West Georgia Street between Thurlow and Bute Streets, west of the Shangri-La Hotel, in downtown Vancouver. Presenting an innovative program of temporary projects, it is a site for local and international contemporary artists to exhibit works related to the surrounding urban context. Featured artists consider the site-specific potential of art within the public realm and respond to the changing social and cultural conditions of our contemporary world. New projects are installed in the spring and fall. Offsite: Shigeru Ban is the seventeenth Offsite installation of this series. Offsite is organized by the Vancouver Art Gallery and funded by the City of Vancouver through the Public Art Program. The Gallery recognizes Ian Gillespie, President, Westbank; Ben Yeung, President, Peterson Investment Group; and the residents of the Shangri-La for their support of this space. About The Institute of Asian Art Responding to the city’s geographic location on the eastern edge of the Pacific Rim, the Vancouver Art Gallery has been committed to presenting contemporary art of the Asia Pacific region for more than two decades. Launched in 2014, the Gallery’s Institute of Asian Art (IAA) is a comprehensive initiative committed to advancing scholarship and public appreciation of Asian art.


Shigeru Ban 


Bruce Grenville 
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posted 17. Aug 2018

Hannah Perry. Rage Fluids

30. Jun 201826. Aug 2018
opening: 29. Jun 2018 18:00
Hannah Perry. Rage Fluids 30.06.2018 - 26.08.2018 Eröffnung & Performance: 29.06.2018 18:00 In „Rage Fluids“ (Verflüssigungen von Zorn), ihrer ersten institutionellen Einzelausstellung, setzt sich die britische Künstlerin Hannah Perry mit der Verarbeitung von Schmerz und Verlust, aber auch von Euphorie und Ekstase vor dem Hintergrund aktueller Formen der Kommunikation und tradierter Geschlechtervorstellungen auseinander. Perry zählt zu einer Generation junger Künstlerinnen und Künstler, deren Sozialisation mit den technologischen Entwicklungen und digitalen Medien sich in der künstlerischen Praxis niederschlägt. Ihre Arbeiten entstehen aus Bruchteilen unmittelbarer, selbst erlebter Ereignisse, registriert von der Kamera ihres iPhones oder festgehalten durch rasch eingetippte Texte. Die Künstlerin nutzt diese Aufzeichnungen als Rohmaterial, um sie mit eigenen Gedanken und Empfindungen im Spannungsfeld zwischen Begehren und Wut, sowie zwischen eigenen Bedürfnissen und als überholt empfundenen Konventionen weiter zu bearbeiten. Für „Rage Fluids“ hat Perry einen umfangreichen Parcours aus eigens für die Ausstellung angefertigten Neuproduktionen entwickelt: In der zentralen Ausstellungshalle präsentiert sie eine raumgreifende, schwebende Installation, deren reflektierender Folienüberzug vom Bass der Lautsprecher in Vibration versetzt und so zum sound-mächtigen Gegenüber wird. Die Arbeit basiert auf einem technischen Verfahren, das Perry bereits 2014 in ihrer in der Abschlussausstellung an den Royal Academy Schools in London gezeigten Wandarbeit „Feeling it“ einsetzte und in der Folgezeit auf freistehende Skulpturen übertrug. Raumfüllend eingenommen wird auch die Apsis im Künstlerhaus: In einem dort gezeigten, von Perry jüngst fertiggestellten 360°-Film können die Betrachterinnen und Betrachter zwischen schwebende und fließende Körperteile unterschiedlicher Geschlechter eintauchen. Das Voiceover reflektiert die Veränderungen des Selbst nach einer traumatischen Erfahrung, die Reaktionen darauf – wie Trauer und Wut – sowie unterschiedliche Bewältigungsstrategien. Satzteile und Wortfetzen aus dem 360°-Film finden sich in Perrys Druckarbeiten, gezeigt im Seitenraum der Ausstellungshalle, wieder. Auf den Aluminiumtafeln überlagern sich Siebdrucke mit Ausschnitten aus dem Bildarchiv der Künstlerin – etwa von aufgerissenen Mündern oder demolierten Fahrzeugen – mit schnell hingeworfenen Farbspuren, rasch aufgeklebte Folien wurden teilweise ruckartig wieder entfernt. In der für die Eröffnung der Ausstellung von Perry zusammen mit Tänzerinnen und Tänzern konzipierten Performance wird die Spannung von Anziehung und Abstoßung, von Subjekt und Masse, von Schockstarre und Zorn abermals aufgegriffen. „Rage Fluids“ reflektiert persönliche Erfahrungen in unterschiedlichen Medien und setzt diese insbesondere zu klischeebehafteten Vorstellungen von Männlichkeit in Beziehung. Die Arbeiten tragen emotionale Reaktionen nicht nur in unterschiedlichen Intensitäten nach Außen, sondern erzeugen diese auch bei den Betrachterinnen und Betrachtern. Insbesondere die installativen Arbeiten in der Ausstellung greifen auf den Körper über, gehen mitunter über die Beeinflussung der sensorischen Wahrnehmung hinaus. Hannah Perry arbeitet sich ab an den alltäglichen Herausforder-ungen zwischen „echtem Leben“ und der Repräsentation von Eindrücken und Emotionen über die unterschiedlichen, nach Außen gerichteten Kanäle. „Hannah Perry zählt zu den international interessantesten jungen künstlerischen Positionen, in deren Arbeiten sich persönliche Erinnerungen und Emotionen im Verhältnis zur gegenwärtigen Medialisierung des Privaten, wie sie vor allem in den digitalen Medien und den sozialen Netzwerken in Erscheinung tritt, niederschlagen. Ihre Auseinandersetzung mit den wunderschönen Räumlichkeiten des Grazer Künstlerhauses, mit der hängenden Soundinstallation in der Haupthalle und der Premiere ihres ersten 360°-Films in der Apsis sowie die inhaltlichen Komponenten ihrer Arbeiten fügen sich optimal in die Programmatik der Halle für Kunst & Medien ein“, gibt Jürgen Dehm, Kurator der Ausstellung, an. Hannah Perry (*1984 Chester) lebt und arbeitet in London. Sie studierte in London am Goldsmiths College (BA 2009) und an den Royal Academy Schools (Abschluss 2014). Einzelausstellungen u.a.: “Viruses Worth Spreading”, Arsenal Contemporary, New York (2017); “100 Problems”, CFA, Berlin (2016); “Mercury Retrograde”, Seventeen, London (2015); “You’re gonna be great”, Jeanine Hofland, Amsterdam (2015); “Hannah Perry”, Zabludowicz Collection, London (2012). Group exhibitions i.a.: “I feel we think bad”, Arsenal Contemporary, Montreal (2016); “Private Settings: Art After the Internet”, MOMA Warsaw (2014); “New Order II”, Saatchi Gallery, London (2014); “Stedelijk at Trouw: Contemporary Art Club – DATA”, Stedelijk Museum, Amsterdam (2013). Performances u.a. in der Serpentine Gallery, London (2014); Barbican Gallery, London (2013); V22, London (2012). Video- und Textbeiträge erscheinen während der Laufzeit der Ausstellung im KM–Online Journal: journal.km-k.at


Hannah Perry 
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posted 16. Aug 2018

She sees the shadows

14. Jul 201804. Nov 2018
She sees the shadows 14.07.2018 - 04.11.2018 MOSTYN, Wales UK is pleased to present a group exhibition of works by over 40 contemporary artists from the David Roberts Collection, marking the first off-site collaboration by David Roberts Art Foundation (DRAF). Works by: Caroline Achaintre, Horst Ademeit, Fiona Banner, Sara Barker, Phyllida Barlow, Neil Beloufa, David Birkin, Karla Black, Carol Bove, Martin Boyce, Lea Cetera, Susan Collis, Thomas Demand, Jason Dodge, Boyle Family, Theaster Gates, Isa Genzken, Rodney Graham, Harry Gruyaert, Jeppe Hein, Marine Hugonnier, Pierre Huyghe, Matthew Day Jackson, Tatsuya Kimata, Rachel Kneebone, Elad Lassry, Bob Law, Nina Beier & Marie Lund, Kris Martin, Marlie Mul, Nika Neelova, Man Ray, Magali Reus, Pietro Roccasalva, Analia Saban, Erin Shirreff, Monika Sosnowska, Oscar Tuazon, Gavin Turk, Franz West, Douglas White Curated by Adam Carr (MOSTYN) and Olivia Leahy (DRAF) Gallery 3, 4 & 5 “She sees the shadows... she even counts the tree-trunks along a promenade by the shadows, but sees nothing of the shape of things.”(1) In 1886, a 22-year-old woman in Lyon saw the world around her for the first time. Objects instantly recognisable by touch were hard to distinguish with her new sight, and shadows appeared more concrete than solid forms. Her doctors described the sudden strangeness of familiar environments, and her singular experience of the world as a newly-sighted person. In his 1932 book Space and Sight, Marius Von Senden collated the patient’s experiences alongside testimonies of similar cases dating from 1020 to the present. These captivating accounts, which later inspired writers including Maggie Nelson and Annie Dillard, express how something familiar can show a previously unacknowledged beauty when seen in a new way. She sees the shadows is a group exhibition of works from the David Roberts Collection that resonate with the ideas found in Space and Sight. Each artist has re-conceived day-to-day objects and materials in unexpected ways—a bench, plug socket, grate, section of railing or broom—inviting viewers to see alternative qualities and narratives therein. Each of the works in a collection, like the testimonies compiled by Von Senden, speak of personal experiences and moments. She sees the shadows is accompanied by a new publication with responses to the project from writers Orit Gat, Claire Potter and Sally O’Reilly and artists David Birkin, Jason Dodge, Marine Hugonnier, Marlie Mul, Magali Reus and Douglas White. (1) M. Von Senden (trans. P. Heath), Space and Sight: the perception of space and shape in the congenitally blind before and after operation, 1932, Methuen & Co. Ltd.: London, 1960.


Adam CarrOlivia Leahy 
MOSTYN, Llandudno

12 Vaughan Street
LL30 1AB Llandudno

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posted 15. Aug 2018

Jay DeFeo: The Ripple Effect

29. Jun 201828. Oct 2018
Jay DeFeo: The Ripple Effect 29.06.2018 - 28.10.2018 The Ripple Effect examines integral themes within American artist Jay DeFeo’s (1929–89) practice, from her use of unconventional materials, blurring of abstraction and representation, to her devotion to chance and experimentation. Famously known for her work The Rose (1958–66)—a gigantic, multilayered painting that she labored on for over eight years—DeFeo was also a prominent, central figure in the California avant-garde art scene, which was marked by collaboration, friendship, and community. The artist went on to produce a dense, diverse body of work over four decades. The title of the exhibition, The Ripple Effect—a collaboration between the Aspen Art Museum and Le Consortium in Dijon, France—refers to DeFeo’s lasting influence on contemporary artists working today. Presenting a core selection of DeFeo’s work in drawing, painting, collage, and photography, the show examines her legacy through the work of eleven contemporary artists (Trisha Donnelly, Sam Falls, Rachel Harrison, Wyatt Kahn, Ron Nagle, Gay Outlaw, Tobias Pils, R.H. Quaytman, Ugo Rondinone, Bosco Sodi, and Oscar Tuazon), all of whom were influenced by DeFeo’s delicate, deliberate approach and intimate vision. AAM exhibitions are made possible by the Marx Exhibition Fund. General exhibition support is provided by the Toby Devan Lewis Visiting Artist Fund. Jay DeFeo: The Ripple Effect is co-organized by Le Consortium, art center, Dijon, and the Aspen Art Museum with the support of the Jay DeFeo Foundation.


Jay DeFeo 
Aspen Art Museum

AAM - Aspen Art Museum I 590 North Mill Street
Colorado 81611 Aspen

United States of Americashow map
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posted 14. Aug 2018

Virtual Insanity

03. Aug 201818. Nov 2018
Virtual Insanity 03.08.2018 - 18.11.2018 Antoine Catala Cao Fei Jon Rafman Jordan Wolfson Harun Farocki Eva & Franco Mattes Refrakt & Nicole Ruggiero & Molly Soda Renaud Jerez Igor Simić Tabita Rezaire “And now that things are changing for the worse see, it‘s a crazy world were living in And I just can‘t see that half of us immersed in sin Is all we have to give these Futures made of virtual insanity now Always seem to, be governed by this love we have For useless, twisting, our new technology Oh, now there is no sound, for we all live underground” Mit Virtual Insanity erobert Jamiroquai 1996 die internationalen Charts. Ein Song, der den Einzug einer neuen Ära begleitet, weil er sie vokal und tonal einfängt. Ein Video, das legendär geworden ist, weil es den Verlust der Bodenhaftung, die Haltlosigkeit von Mensch und Situation in damals spektakuläre Bilder umsetzt. Nicht der Begriff „virtual insanity“ doch seine Bedeutung hat sich bestätigt. Das steigende Abgleiten in virtuelle Realitäten führt in steigendem Maße zu Wahrnehmungsstörungen, Eskapismus, Verrohung. Als „Simulatorkrankheit“ oder „Motion Sickness“ werden Erschöpfung und Schwindel bezeichnet, die eintreten, wenn sich tatsächliche Bewegungen des Körpers nicht mit visuell wahrgenommenen decken, so zum Beispiel beim Tragen einer VR-Brille. Durch VR-Brillen, Augmented-Reality-Anwendungen, vielleicht bald spezielle Kontaktlinsen erobert die Zukunft längst unsere Gegenwart. Computervermittelte Realitäten, die Durchmischung von realer und virtueller Realität, die Erweiterung unserer realen Umgebung um künstliche Elemente wie Avatare oder virtuelle Objekte – all dies sind Erlebnisräume, die die menschliche Wahrnehmung und Erfahrung verändern, sie erweitern. Sie bilden nur einige Beispiele dafür, dass und wie unsere Wirklichkeit beständig wächst. Längst arbeiten Wissenschaftler daran den Begriff Wirklichkeit neu zu definieren; freier, als das, was ganz allgemein eine Wirkung zeigt. Doch welche Wirkungen können das sein, die neue Technologien im Zusammenspiel mit dem Menschen auslösen? Wie machen sie sich bemerkbar und wann? Die Ausstellung Virtual Insanity beschäftigt sich mit der Ausdehnung der Realität und deren Schattenseiten. Wachstum und Veränderung sind die Motoren menschlichen Denkens und gesellschaftlicher Entwicklungen. Sie stimulieren, wirken sinnstiftend, können notwendig sein. Gleichzeitig können sie Felder aktivieren, Gedanken und Handlungen auslösen, die weder gewollt, noch steuerbar sind. Indem sich zeitgenössische Künstler und Künstlerinnen mit Fragen und Erscheinungen der Gegenwart beschäftigen, leisten sie einen wichtigen Beitrag zu deren Verständnis. In Virtual Insanity kreieren sie Dokumente, verfassen Berichte und Erzählungen, entwickeln Szenarien und praktizieren so einen ganz eigenen Umgang mit technischen Neuerungen und Lebensvollzug infolge der digitalen Revolution. Die beschriebenen Begleiterscheinungen einer virtuellen oder erweiterten Wirklichkeit bilden längst einen wichtigen Bestandteil künstlerischer Fragestellung und Forschung. Internationale Gegenwartskünstler und –künstlerinnen sprechen aus, was die Wissenschaft vermutet: Starke Immersion verändert das Bewusstsein, den Menschen. Je stärker das Präsenzgefühl innerhalb der virtuellen Welt, also je überzeugender die Illusion Teil von ihr zu sein und der physischen Welt den Rücken zu kehren, umso umfassendere und tiefgreifendere Wirkungen treten ein. Und diese Wirkungen beschränken sich nicht nur auf Gedanken und Gefühle, sondern sind auch körperlich messbar. Seit der Einführung des World Wide Web vor etwa 25 Jahren durchdringen digitale Technologien unseren Alltag und verändern unser Zusammenleben radikal in einer atemberaubenden Geschwindigkeit. Was passiert, wenn wir in fremde Welten eintauchen, aus ihnen aber nicht mehr auftauchen können? Was nehmen wir mit und was bleibt von uns? Diesen und weiteren Fragen gehen die Künstler in Virtual Insanity nach.
Kunsthalle Mainz

KUNSTHALLE MAINZ | Am Zollhafen 3–5
55118 Mainz

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posted 13. Aug 2018


04. Jul 201830. Aug 2018
LEELEE KIMMEL: WORMHOLE 04.07.2018- 30.08.2018 As part of its Viewing Room programme, Simon Lee Gallery is pleased to present Wormhole a solo exhibition by New York-based artist Leelee Kimmel, her first in the UK. In her latest work, Kimmel presents a series of largescale abstract paintings that are confrontational in both colour and dimension, exploring themes of creation and destruction. The immersive element of her work is further developed through sculptural pieces and a fiveminute Virtual Reality work that invites total submergence into the deep space of Kimmel’s creative world. The large-format paintings feature graphic shapes clustered in thick multilayered pools of bright acrylic paint, which weave across fields of solid white or black. The paintings are imbued with a restless energy and freedom that is intrinsically linked with how the artist creates her works. The resulting compositions deliberately move in and out of representation, sensuous and strict, gloss and matte, tangled and full. The complex patch-work of imagery, consisting of crosshatch and opposing vector-like lines and patterns as well as interrupting biomorphic forms, has an otherworldly quality. Forceful and nervous lines are reminiscent of artists such as Basquiat and Twombly, while the uncanny worlds and dreamlike atmospheres created by the artist emerge into a sort of mutant realism. Alongside the paintings, Kimmel presents 3D printed sculptures that have been manipulated and painted. A natural progression from the paintings, the biomorphic objects appear to have leaped out of the canvases and exist as living, breathing organisms or planets within the gallery space. In the adjoining gallery, she continues the journey through her constructed landscape by presenting a virtual reality facet to the exhibition that takes us on a fiveminute uplifting voyage into the fictional worlds of her paintings. As in her two-dimensional works, in Wormhole (2018) colourful shapes and forms float like galaxies in a black expanse.


Leelee Kimmel 
Simon Lee, London

12 Berkeley Street
GB-W1J 8DT London

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posted 12. Aug 2018

Anish Kapoor - Works, Thoughts, Experiments

06. Jul 201806. Jan 2019
The Serralves Museum of Contemporary Art presents a major exhibition of works by Anish Kapoor (Mumbai, India, 1954), one of the world’s leading contemporary artists. The exhibition will be presented across the 18-hectare Serralves Park together with a presentation in the Serralves Museum of architectural models conceived over the course of the past forty years. This will be the first solo exhibition in Portugal dedicated to the work of Anish Kapoor. Conceived across multiple sites in the Serralves Park, the exhibition will present five large-scale sculptures, some newly conceived, that present the artist´s iconic languages of form and material, from works such as Sky Mirror, to the dramatic sculpting of the landscape itself. Kapoor’s works take on the mythic qualities and symbolic relationships of landscape. Bringing earth and sky, horizon and dark interior together, his sculptures traverse boundaries and shift meaning. In dialogue with the works in the Park there will be an exhibition in the museum of the artist’s models. Made for works and ideas on an architectural scale, model making as a tool for thinking about form and scale has always been a central process in Kapoor’s studio practice. They present emerging ideas about space that he has come back to again and again, and reveal the importance of experimentation and process as a means to transformation. Born in Mumbai and based in London, Kapoor achieved international recognition in the 1980s as a member of the generation of new British sculptors. Since then, he has developed an oeuvre which stands out for its immense diversity and ambition, and has embraced both the intimacy of un-certain objects in interior space to the monumental scale of the urban and rural landscape. Anish Kapoor: Works, Thoughts, Experiments is organized by the Serralves Museum of Contemporary Art and curated by Suzanne Cotter, Director, Mudam Luxembourg ― Musée d’art moderne Grand-Duc Jean.


Anish Kapoor 
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posted 11. Aug 2018

SITElines.2018: Casa tomada

03. Aug 201806. Jan 2019
opening: 01. Aug 2018 02:00
SITElines.2018: Casa tomada New Perspectives on Art of the Americas 03.08.2018 - 06.01.2019 Opening Events: 01.08.2018 - 04.08.2018 SITE Santa Fe is pleased to announce the participating artists and new commissions (*) for the upcoming SITElines.2018 Biennial opening on August 3, 2018. This is the third installment in SITE Santa Fe’s reimagined biennial series with a focus on contemporary art from the Americas. The exhibition features 23 artists from eight countries and ten new commissions organized by a team of three curators—José Luis Blondet, Candice Hopkins, and Ruba Katrib, with Naomi Beckwith as Curatorial Advisor. SITElines.2018 artist Stephanie Taylor announces the artists through the second in the series of commissioned songs, Press Release #2. Listen here. Lutz Bacher, USA* / Ángela Bonadies and Juan José Olavarría, Venezuela / Melissa Cody, USA* / Paz Errazuriz, Chile / Victor Estrada, USA / Radames “Juni” Figueroa, Guatemala / Andrea Fraser, USA / Hock E Aye Vi Edgar Heap of Birds, USA* / Fernanda Laguna, Argentina* / Victoria Mamnguqsualuk, Canada / Jumana Manna, USA / Eduardo Navarro, Argentina* / NuMu (Jessica Kairé and Stefan Benchoam), Guatemala / Tania Pérez Córdova, Mexico* / Jamasee Pitseolak, Canada / Naufus Ramirez-Figueroa, Guatemala* / Eric Paul Riege, USA* / Curtis Talwst Santiago, Trinidad and Tobago, Canada / Sable Elyse Smith, USA* / Stephanie Taylor, USA* / Lawrence Paul Yuxweluptun, Canada The title of SITElines.2018 references Argentine writer Julio Cortázar’s 1946 short story “Casa tomada” (House Taken Over), which follows two shut-in siblings devoted to the care of their ancestral home. As a mysterious and unnamed presence begins to occupy parts of the house, they are eventually forced out onto the street without any material possessions. The exhibition plays off the ambiguities of this story, addressing the reciprocal and complex relationship between the ones who stay and the ones who leave, and those that belong and those that are outliers. About the SITElines Team at SITE Santa Fe Working with these three guest curators, the team at SITE includes: Irene Hofmann, SITElines Director; Brandee Caoba, Assistant Curator; Joanne Lefrak, SITEcenter Director; Sage Sommer, Exhibitions Manager and Registrar, and John Cross, Lead Preparator. About the SITElines.2018 Catalogue SITE Santa Fe will publish a catalogue to accompany the exhibition, with contributions from the three curators, José Luis Blondet, Candice Hopkins, Ruba Katrib, and Naomi Beckwith, Curatorial Advisor, plus newly commissioned texts by Magali Arriola and Evan Calder Williams, and a preface by Irene Hofmann. Designed by David Chickey, the book will be approximately 150 pages, 11 x 8 inches, with full color illustrations, and distributed by Distributed Art Publishers (DAP).
SITE Santa Fe °

1606 Paseo de Peralta
NM-87501 Santa Fe

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posted 10. Aug 2018

Joëlle Tuerlinckx. The Constellation of Maybe

07. Jul 201804. Nov 2018
opening: 07. Jul 2018 18:00
Joëlle Tuerlinckx. The Constellation of Maybe 07.07.2018 - 04.11.2018 Opening: Saturday 07.07.2018 18:00 followed by a performance by Christoph Fink and Valentijn Goethals. The Vassivière Island International Centre for Art and Landscape is delighted to be welcoming Belgian artist Joëlle Tuerlinckx. For this large-scale solo exhibition Joëlle Tuerlinckx is offering 11 new works spread all over the island, from the art centre building to the lakeshore: a constellation of out-of-the-ordinary elements that explore the power of form to appear and disappear, and the infinite possibility of a space and an oeuvre. One of the exhibits – a lake-water outlet with aspirations to being a fountain – is going to join the Sculpture Wood collection. Via these unique works – on show both inside the art centre and outside, amid the meadows, woodland and the lake – the artist explores the narrative power of form and abstraction. The visitor is invited to walk through a site made up of ground-level pieces which, based on the starry skies of the Millevaches Plateau, form another constellation of singular objects that transforms our habitual relationship with this territory and its components. Moreover, some of these shapes are inspired and governed by an iconography that takes account of the locality's special character and what makes it attractive: the architecture of the art centre, for example, or the overall look of the lake. The tower of Aldo Rossi and Xavier Fabre's building becomes the locus for the wellspring and creative energy of this new landscape. The artist has delved into the lake's industrial history and the production of electricity via the enormous mass of water that shapes the island's contours, and the resultant works reflect her discovery of this energy. The art centre's individual spaces dissolve into a single area of machined parts that have been reversed, displaced and modified. The sculptures in the woods and on the lake have to be tracked down. They elude the senses, evoking and at the same time disrupting their birthplace. Among their surprises is a remarkable site-specific work, a lake-water outlet that dreams of becoming a fountain. Questioning the infinite possibilities of a space and an oeuvre – from form to materiality, from presence to absence – this Constellation of Maybe has found in Vassivière the very place its existence calls for. A publication comprising texts and maps, specially designed by the artist, will enable visitors to acquaint themselves with the exhibition as a whole. In association with other international bodies the art centre will also be publishing a monographic catalogue. With the support of the Wallonie-Bruxelles International, the Friends of the Art Centre association and the gallery Nächst St Stephan - Rosemarie Schwarzwälder in Vienna. With the technical assistance of the Syndicat le Lac de Vassivière. The works were produced with Arrolimousin (Limoges), CRAFT (Limoges), Couffignal Foundry (Aixe-sur-Vienne), Jean-Michel Louel (Belgium), Picat Carrosserie (Limoges) and Portiso (Peyrat-le-Château)...
Centre international d'art et du paysage de Vassivière, Beaumont-du-Lac °

Centre international d'art et du paysage de Vassivière, Beaumont-du-Lac
F-87120 Beaumont-du-Lac

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posted 09. Aug 2018


16. Jun 201804. Nov 2018
Manifesta 12 Palermo 16.06.18 – 04.11.18 TV and local press preview: 13.06.18 VIP, professional and international press previews: 14.06 – 15.06.18 Opening weekend: 16.06 – 17.06.18 Manifesta 12 Palermo Initiators: Manifesta The City of Palermo Manifesta 12 Palermo Creative Mediators: Ippolito Pestellini Laparelli, Italian architect and partner at OMA Bregtje van der Haak, Dutch filmmaker and journalist Andrés Jaque, Spanish architect, artist and scholar based in New York Mirjam Varadinis, Swiss contemporary art curator Manifesta 12 Digital: www.manifesta12.org Facebook: manifestabiennial Instagram: manifestabiennial Manifesta 12 launches a specific programme for Palermitans in the historical Teatro Garibaldi, inviting the local community to share ideas with Manifesta 12 before the biennial opens in Palermo in 2018 On Thursday, 13 July at 6 pm, an iconic historical building in Palermo, the Teatro Garibaldi reopened its doors with an exciting cultural programme in anticipation of the Manifesta 12 biennial to be held in Palermo in 2018. “Aspettando Manifesta 12” (Waiting for Manifesta 12) is a multilayered program designed to raise awareness among Palermitans about the fact that Manifesta 12 is coming to their city and to provide them with a social hub to proactively learn about and share ideas with Manifesta 12. Access to “Aspettando Manifesta 12” in Teatro Garibaldi is free of charge. The program is open to visitors from Tuesday to Saturday from 10 am to 7 pm from 13 July 2017 until 29 October 2017. Manifesta Cultural Histories Within the program, visitors can explore the biennial’s history with an archival exhibition created by the Manifesta team called “Manifesta Cultural Histories”. The exhibition uses photographs, video, text and artefacts to reveal the stories and ideas behind previous Manifesta editions. Free guided tours are available throughout July from Tuesday to Saturday from 10 am to 7 pm for groups of up to 15 people. A reservation is required and can be made via telephone: +39- 333.6330044 or email: m12 [a] manifesta.org during booking hours (Monday to Friday from 10 am to 7 pm). Manifesta 12 Pop-Up Library Palermitans are also invited to visit the new Manifesta 12 pop-up library, which features a selection of books and publications on contemporary art, architecture and visual culture from the Manifesta archive, as well as donations from Italian publishers and cultural institutions. It includes a special children’s section, as well as a café serving drinks and light bites, creating a convivial space within Teatro Garibaldi. The Manifesta 12 pop-up library will also feature “Fatimide’s Tales”, a project initiated by the Manifesta 12 education team with Palermo-born artist Gabriella Ciancimino and students from the Amari Roncalli Ferrara School and kids of Piazza Magione, situated next to Teatro Garibaldi. In a series of workshops, the artist and children have explored past and future stories of the square, reflecting on what it has been and what it could become. These stories were brought to life in a series of drawings by the children, which were collected into a large handmade book, and available to read in the Manifesta 12 pop-up library. The artist Gabriella Ciancimino has recreated the drawings into illustrations for the windows of the Manifesta 12 pop-up library, which will be unveiled during the public opening of “Aspettando Manifesta 12” on Thursday, 13 July. In addition to the exhibition, pop-up library and café, “Aspettando Manifesta 12” will host film screenings, including the unique ArtDocs produced for Manifesta 11 in Zurich in 2016 by the edition’s curator Christian Jankowski. ArtDocs is a collaborative documentary series created by students, teenagers, artists and local professionals for Manifesta 11. Through experimental storytelling and filmmaking, the documentaries offer a glimpse into the making-of process of each newly commissioned work for Manifesta 11. In the autumn, a series of lectures, workshops and discussions dedicated to the ideas behind Manifesta’s past editions will be held in Teatro Garibaldi as part of “Aspettando Manifesta 12”. The team is working on organising events with a diverse range of artists, curators and creatives who have participated in previous Manifesta editions and will be invited to Palermo to share ideas and stimulate international networking within the local community. “Aspettando Manifesta 12” is open to the public on Thursday, 13 July at 18.00 with an informal inauguration event that includes complimentary drinks and bites, Sicilian wine provided by the sponsor of the event, Tasca D’Almerita, and live music by Palermitan DJ, Sergio Cataldi. “The nomadic nature of the Manifesta biennial requires the proactive engagement and participation of local audiences and communities well ahead of the biennial, which will allow for a seamless passage from ‘Aspettando Manifesta 12’ to the making of Manifesta 12”. – Hedwig Fijen, Director of Manifesta “After necessary security work, Teatro Garibaldi re-opens to the city as the Manifesta 12 headquarter. Once the biennial is over, Teatro Garibaldi will become a city theater again. It is another example of a historical building that has been returned to the city in anticipation of Palermo becoming the Italian Capital of Culture in 2018.” – Leoluca Orlando, Mayor of Palermo, and Andrea Cusumano, Councilor of Culture About Manifesta: Manifesta, the European Nomadic Biennial, originated in the early 1990s in response to the political, economic and social change following the end of the Cold War and the subsequent steps towards European integration. Since it began, Manifesta has developed into a platform for dialogue between art and society in Europe, by inviting the cultural and artistic community to produce new creative experiences with, not just for, the context in which it takes place. Manifesta was founded and is still run by Dutch art historian, Hedwig Fijen, in Amsterdam. Each new edition is started and fundraised individually, while being managed by a permanent team of international specialists. Manifesta works from offices in Amsterdam and Palermo, with a new office soon to be based in Marseille. Led by Hedwig Fijen and Peter Paul Kainrath, the permanent team consists of Tatiana Tarragó, Paul Domela, Esther Regueira, Yana Klichuk, Asell Yusupova, Marieke van Hal and Mikaela Poltz, as well as Manifesta 12 general manager Roberto Albergoni and coordinator Francesca Verga. In its next decade, Manifesta will focus on evolving from an influential contemporary art biennial to an interdisciplinary European platform that investigates and catalyses positive social change in Europe through contemporary culture. Previous Manifesta Host Cities Manifesta 1, Rotterdam (Netherlands, 1996) Manifesta 2, Luxembourg (Luxembourg, 1998) Manifesta 3, Ljubljana (Slovenia, 2000) Manifesta 4, Frankfurt (Germany, 2002) Manifesta 5, Donostia-San Sebastián (Spain, 2004) Manifesta 6, Nicosia (Cyprus, 2006 – cancelled) Manifesta 7, Trentino-Alto Adige (Italy, 2008) Manifesta 8, Murcia - Cartagena (Spain, 2010) Manifesta 9, Genk-Limburg (Belgium, 2012) Manifesta 10, St. Petersburg (Russia, 2014) Manifesta 11, Zurich (Switzerland, 2016)
Manifesta Palermo

Via della Vetriera 26/28
90133 Palermo

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posted 08. Aug 2018

Paranoid House

01. Jul 201830. Sep 2018
Paranoid House Anders Dickson, Philipp Gufler, Henna Hyvärinen, Becket Mingwen, Sophie Serber 01.07.2018 – 30.09.2018 -Hi How’s your love life? -Very fulfilling. How’s your career? Steady like magnetic North. -Has it affected your libido? Still no change. -You don’t really see other people, just a little shadow where an individual should be. Bodies always seems so obscenely factual. Like a chair, a table. -Don’t you have any fantasies? My perspective is so completely secular, so disillusioned that this human lump could just as well be anybody. -In what way is a bit of skin or a particular joint erotic, any more than the tube of a vacuum cleaner? The next logical conclusion. Failure of imagination becomes paranoia. Anders Dickson (1988, USA) is currently a participant at De Ateliers in Amsterdam, where he also cooperates the project space Root Canal. Having previously studied Philosophy in The States, he started his fine art studies in 2010 in Karlsruhe and continued at The Städelschule in Frankfurt. While Dickson works in several media, his dreamlike subjects and unique use of colour make his pieces pervade a sense of the supernal. Inspired by elements of American culture; from Herman Melville’s Moby Dick, to the Native American figure of the “Trickster,” the artist balances elements of mythology, philosophy and nature in order to confront the mystery of human identity in contemporary society. Philipp Gufler (1989, Germany) is based in Amsterdam and Munich and since 2013 a member of the grassroot archive forum homosexualität münchen. Gufler is a former resident of De Ateliers working with performance, text, video installation and silkscreen prints. His work often pays tribute to historic figures who were fundamentally critical towards the norms and values of their time. In his work and recent publications, these figures meet with contemporaries of Gufler. Different characters are formed and expressed in a fragmented way, mixing quotes and possible thoughts, as condensed attitudes. Moreover, Gufler repeatedly seems to merge with his characters. Henna Hyvärinen (1986, Finland) is currently based in Amsterdam for a residency at De Ateliers and also cooperates the project space Root Canal in Amsterdam. Hyvärinen holds an MFA from Time and Space department from the University of the Arts Helsinki and is part of the performance duo echo+seashell as well as the artist-run space and collective Sorbus in Helsinki. Using sound, video, performance and text to create autofictional narratives, Hyvärinen considers the ways in which power structures, gender, sexuality and socio-economic backgrounds shape one’s identity. Becket Mingwen (1984, USA) received his MFA from the University of Southern California, and attended the Rijksakademie residency program in 2016-2017. His work spans audio, installation, publishing, and performance. Working frequently with the form of the dialogue, his recent projects have focused on how subjects are called forth, particularly the relation between speaking and the production of the self. He opens up this system of self and language to question current forms of political subjecthood. Sophie Serber (1993, USA) currently lives and works between Amsterdam and Berlin. She studied Fine Arts at Pratt Institute, NYC and at the Gerrit Rietveld Academie, Amsterdam. In her work, Serber continually grapples with such ideas and themes as containers, what they can and can't contain; cleansing as ritual or a form of secular prayer; and material and linguistic purging. Sense is warded off by way of its filtration through chaotic, atomizing matrices, but is then granted slow access back in. This group exhibition is curated by Roos Gortzak, director Vleeshal. Funded by Mondriaan Fund and City of Middelburg.


Roos Gortzak 
Vleeshal, Middelburg

Zusterstraat 7
NL-4331 Middelburg

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posted 07. Aug 2018


01. Aug 201814. Oct 2018
opening: 29. Jul 2018 15:00
PRAGMATISMUS UND SELBSTORGANISATION / PRAGMATISM AND SELF-ORGANISATION mit Elias Cafmeyer, Jo Caimo, Emmanuel Dundic, Lisette de Greeuw, Pieter De Clercq, David Helbich, Edyta Jarząb, Mirthe Klück, Alina Schmuch und Adrien Tirtiaux & Adrien Tirtiaux – HOMOGENISIERUNG DER SAMMLUNG / HOMOGENISE THE COLLECTION 01.08.2018 – 14.10.2018 Eröffnung: 29.07.2018 15:00 So arbeiten alle eingeladenen Künstlerinnen und Künstler an offenen und selbstorganisierenden Strategien. Wichtig ist, dass das Verhältnis von Betrachterinnen und Betrachtern zur ausgestellten Kunst aus einem hierarchischen Verhältnis befreit und in ein gleichberechtigtes Miteinander überführt wird. Am Wochenende des 6. und 7. Oktober findet ein von Linnea Semmerling kuratierter Workshop mit Jo Caimo, David Helbich und Edyta Jarząb statt. Dieser erprobt – ausgehend von gesanglichen Strategien – Aspekte der Gruppensynchronisation und das sprichwörtliche „Erheben der Stimme“ mit den Besucherinnen und Besuchern. Darüber hinaus wird das IKOB in Zusammenarbeit mit dem Musikfestival MEAKUSMA und dem Ostbelgien Festival am 8. und 9. September Schauplatz von zwei Konzerten werden. Teilnehmende Musikerinnen und Musiker sind Wolfgang Delnui sowie Tomoko Sauvage und Emmanuelle Parrenin. Zeitgleich zu Pragmatismus und Selbstorganisation und passend zum Thema präsentieren wir eine ganz besondere Werkgruppe aus der eigenen Sammlung: Homogenisierung der Sammlung des belgischen Künstlers Adrien Tirtiaux. Diese Werkgruppe entstand im Jahr 2014 im Kontext seiner Einzelausstellung im IKOB. Dafür zeichnete er nach und nach jedes Kunstwerk aus der eigenen Sammlung im Maßstab 1:20 ab. Es entstanden 264 einzigartige Zeichnungen, die nun erstmals im Museum präsentiert werden.
IKOB, Eupen

Rotenberg 12 B
B-4700 Eupen

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posted 06. Aug 2018

Emma Talbot

11. Jun 201801. Sep 2018
Emma Talbot 11.06.2018- 01.09.2018 Emma Talbot’s recent works examine two concurrent states of mind, identifying key contemporary concerns, that Talbot proposes as an early 21st century Zeitgeist. The concerns are counterbalanced; on one hand, the prevalent concern with the Anthropocene (the name of the present geological timescale in which humankind has made the biggest impact on the natural world) and it’s extension through philosophical, cultural and theoretical positions to propose a kind of ‘fin de siecle’ preoccupation with the idea of the world ending, with death, memory, the end of civilisation, provided Talbot with a sense of anxious stasis and inertia. On the other, the prevalent desire for greater freedoms of personal expression, through gender politics and sexual identity, polyamory and fluidity suggested constant movement, development and potential. Talbot’s approach to these two positions was to draw them through personal experience, to place the everyday against the scene of the larger natural world and the universe. Talbot’s work is always concerned with how the personal becomes political and how small acts of living become emblematic of a contemporary timescale. The group of silk hangings, ‘Bound’ set up a number of ruminations on endings, on ancestors, burials, the earth’s demise and internalised anxieties which hold the contemporary person in an inert, fixed and afraid mind-set. Whereas the ‘Fluid’ group of hangings explore a Spring like burgeoning of life, love and energy. The themes are extended through 3 Dimensional work. Talbot’s 3-D work is ‘drawing in three dimensions’ and articulates feelings and emotions just as her drawings on paper do. ‘Widow On The Rocks’, a figurative head resting on a painted papier mache form, surrounded by a woollen ‘net’ explores the idea of being alive but inert. A widow herself, Talbot revisits the Widow’s state of near to death – by being so close to death, she is almost not alive herself. Talbot considers how rocks are compacted flows of water and earth and how the widow as a poetic figure can stay still and become rock-like. ‘Fluid Love’ is representative of figures intertwined, perhaps two figures, perhaps one – at any rate, an idea of fluid physicality, and interchangeable relationship of forms. The piece is an attempt to maintain movement in something static. It also holds references to Talbot’s interest in the figuration of non-Western sources such as Japanese prints and Indian minatures. Single Handed This painted silk hanging is a set of thoughts about how life experience the personal becomes imbedded in personal narratives, sent out to a wider social network such as Instagram. Despite the ending of a relationship and her loneliness, the woman in the painted scenes sends out images of herself which are celebratory. Talbot’s work is always concerned with the personal and internal narratives, moving between media, but holding drawing as a basis for the construction of imagery. She is interested in drawing as a means of recording the imaginative structure of imagery from ‘the mind’s eye’ more accurately than external photographic image-framing. However, the inclusion of our intimate relationships with technology has been a key parhttp://nicolaskrupp.com/artists/emma-talbott of her most recent work. Talbot is interested in the format of the scroll for painted images, as comparative to the way we look at images and text today, scrolling on our phones.


Emma Talbot 
Nicolas Krupp, Basel

Rosentalstrasse 28
4058 Basel

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posted 05. Aug 2018


01. Mar 201823. Sep 2018
venue: Carlone Hall at Upper Belvedere Ines Doujak. Hera 01.03.2018 - 23.09.2018 Ines Doujak starts contemporary cycle “Carlone Contemporary” in the famous Carlone Hall at Upper Belvedere Hera by Ines Doujak represents the first in a series of contemporary positions that will accompany the permanent collection redisplayed in the Upper Belvedere starting on March 2, 2018. These works will be shown in the famous Carlone Hall on the ground floor of Upper Belvedere and will play off the mythological frescoes within the space. In a six-month rotation format, artists will develop their perspectives in harmony with the frescoed hall’s Baroque aesthetic, bridging the world of gods like Apollo and Diana from antiquity with the present day. The Carlone Contemporary Cycle is curated by Stella Rollig, artistic director of Belvedere, Vienna. Ines Doujak’s HERA is an ironic statement on female representation in our society. The ancient goddess Hera is commonly known as the wife of Zeus, guardian of hearth and family, as well as a betrayed spouse. At the Upper Belvedere, however, she will be observed from another point of view. Larger than life, she kneels on a table with her blouse pushed up, plucking out a hair from her chin. We are presented with an intimate moment, accentuated by the smell of frankincense emanating from an opening in her body, the pleasing aroma of which seems to be the only sign of her divinity. The intimate and private nature of Doujak’s heroically-sized sculpture is diametrically-opposed to the typical representation of such Olympian gods. Unfazed by the viewer’s gaze, she is completely occupied with herself, engrossed in a mundane, human beauty ritual. Doujak’s work addresses socio-critical questions regarding standards of gender, social norms, and stereotypes. With pointed political accuracy, it also leaves room for irony and a subtle sense of humour. Belvedere permanent collection redisplayed The Belvedere’s extensive collection covers art from the Middle Ages to the present, including the world’s largest collections of paintings by Ferdinand Georg Waldmüller and Gustav Klimt and the Character Heads by Franz Xaver Messerschmidt. From March 2018, the Upper Belvedere’s new display concept shall offer fresh approaches to these masterpieces of art. The concept includes innovative thematic rooms, interspersing the chronological hanging through the periods of art and sparking a multi-layered dialogue between the classics of art history and contemporary artists, for example Erwin Wurm and Christian Philipp Müller. The rooms revolve around questions concerning Austrian history, its identity, and its art. In this exciting interaction between past and present, old favourites can be rediscovered in a new context. About the artist Ines Doujak, who participated in documenta 12 in 2007 with her piece entitled Siegesgarten [Victory Garden], works mainly in the realms of photography, installation, and conceptual art. Born 1959 in Klagenfurt, Doujak lives and works in Vienna. The intervention entitled Hera by Ines Doujak will open the evening of March 1, 2018 in the Upper Belvedere alongside the new presentation of the permanent exhibition, which will redisplay famous artworks of the Belvedere collection such as Gustav Klimt’s Kiss (Lovers) or Egon Schieles, Embrace. The second Intervention at Upper Belvedere 2018 will be created by David Zink Yi and will be presented on October 5, 2018. David Zink Yi began working with ceramic as early as his student years. Working with this material, the process of transformation is never predictable and always contains an alchemical element. Within the frames of Carlone Contemporary at Upper Belvedere, he will present on of his squid sculptures.


Ines Doujak 
Belvedere, Wien °

Prinz Eugen-Straße 27
A-1030 Vienna

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posted 04. Aug 2018

Phil Collins. This Is The Day

10. Aug 201828. Oct 2018
opening: 09. Aug 2018 19:00
Phil Collins. This Is The Day 10.08.2018 - 28.10.2018 Exhibition launch: 09.08.2018 19:00 - 21:00 This major exhibition across all three of the MAC’s galleries brings together a series of recent projects by Phil Collins. The most recent of these works, Ceremony, was commissioned in 2017 by Manchester International Festival, HOME, Manchester, and 14-18 NOW to coincide with the centenary of the Russian Revolution. An event which shaped the political landscape of the 20th century, the revolution took place in 1917. But it was in Manchester, not Imperial Russia, that the idea of communism was born. Ceremony is centred around the life and work of Friedrich Engels, co-founder of communist theory with his friend Karl Marx, who lived in Manchester for 20 years. His philosophy was shaped by what he observed in the world’s first industrial city. The film follows Collins’ search for and retrieval of a decommissioned statue of Engels from an Ukrainian village, its journey across Europe, and arrival in Manchester where it was permanently installed last summer in the city centre. In parallel, Ceremony explores Engels’ legacy and the social conditions in Britain today through the stories of people who Collins met during his year-long residency, and his collaboration with local organisations, activists and communities. In Belfast the work will be presented as an installation specially designed for the MAC's Upper Gallery. The MAC's Tall Gallery will host a large-scale installation Delete Beach from 2016, an anime set in the near future which tells the story of a schoolgirl who joins an anti-capitalist resistance group in a society in which carbon-based energy is outlawed. The film proposes a scenario describing the decline of the oil economy, with the prosperity of the boom years expiring and the necessity of infrastructural changes looming large. As an art form, anime has repeatedly addressed political themes, often through the lens of complex female characters. In Delete Beach a curious paradox is at work: society has seemingly reached an advanced state of independence from carbon fuels, yet it continues to toil as before under a regime of oppression, inequality and control. Following anime’s recognisable aesthetic and storytelling strategies, Collins’ collaboration with STUDIO4°C, one of Japan’s leading animation studios (Tekkonkinkreet), and pop auteur and film composer Mica Levi (Under the Skin, Jackie) brings to life a world at once familiar and disquietingly corroded. In the gallery Delete Beach is conjured up as a melancholy shoreline, crashing in from another dimension to play host to an expansive animation environment. The film alternates between Japanese and English language versions, with interludes featuring specially composed music and light sequencing. Also, exhibited in the Tall Gallery is free fotolab from 2009, a slide projection with 80 images from Collins’ ongoing archive of photographs which he collects by putting out a public call for rolls of undeveloped 35mm film, which are processed and returned to participants for free on the understanding that they relinquish the rights to the artist so he may select and present any of the images. Since 2004 the project has taken place in various locations. Images presented here come from cities as disparate as Milton Keynes, St. Gallen (Switzerland), Belgrade (Serbia), Eindhoven (Netherlands), and Banja Luka (Bosnia and Herzegovina). Bringing together scenes from anonymous, everyday lives, free fotolab is a love letter to 35mm film in the face of its demise in the digital era, and a collective family album of pictures which, despite the differences in their visual style and content, create a rare sense of solidarity. The final work in the exhibition, the meaning of style from 2011, presented in the MAC's Sunken Gallery, explores ways in which subcultures circulate between different historical, ethnic, and social contexts. The film features a group of anti-fascist Malay skinheads who are part of a subculture formed in the 1990s. Filmed in Penang, Malaysia in a series of languorous scenes set in an Indian Tamil cinema, a Chinese Buddhist temple, and a colonial-era mansion, they appear to move between the imaginative and literal spaces of cinema. The visual cues are all there: shaved heads, polo T-shirts, bomber jackets, braces, jeans, leather boots, tailor-made trousers and sweaters. But the aggression that has come to define skinheads is absent. They reinterpret the style of this typically British subculture and, bridging time and space, restore it to its original, progressive and anti-racist meaning united by community, fashion and music within their post-colonial South-Asian context. A dreamlike soundtrack by Welsh musician Gruff Rhys and the band Y Niwl moves the film toward something that is neither a pop video nor a visual experiment but more socially and culturally compelling, connected to the universal desire to belong while staking out zones and modes of independence.


Phil Collins 
MAC, Belfast

THE MAC | 15-19 Corporation Square
BT13AJ Belfast

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posted 03. Aug 2018

Rinus Van de Velde. Now I am the night of nights

30. Jun 201809. Sep 2018
opening: 29. Jun 2018
Rinus Van de Velde. Now I am the night of nights 30.06.2018 - 09.09.2018 Eröffnung: 29.06.2018 Kuratoren: Malte Kröger, Amely Deiss Rinus Van de Velde (*1983 in Löwen, Belgien) ist bekannt für seine großformatigen Kohlezeichnungen. Nicht selten tritt er dabei als Protagonist in seinen Werken auf. Van de Velde modelliert ihm ähnlich sehende Charaktere, die reisen, forschen und suchen – nach dem eigenen Ich, einer neuen Inspiration, manchmal aber auch nur nach der nächsten Tankstelle und einer Schachtel Zigaretten. In den vergangenen Jahren inszenierte der Künstler sich so auch in Rollen, die an große Figuren der Kunstgeschichte wie etwa Alexander Calder oder historische Persönlichkeiten wie den Schachweltmeister Bobby Fischer oder den Entdecker Alexander von Humboldt angelehnt waren. Obwohl sie chronologisch nicht in Beziehung zueinander stehen, setzen sich seine Bilder fast wie von selbst in der Vorstellung der Betrachter*innen zu Erzählungen zusammen. Jede einzelne Zeichnung basiert dabei auf bereits existierendem Bildmaterial. Als Vorlagen dienen ihm dabei nicht nur Fundstücke aus Zeitungen, Magazinen oder dem Internet – seit Längerem produziert Van de Velde in seinem Antwerpener Studio ausgefeilte Sets, die er abfotografiert und in denen Freunde von ihm als Statist*innen seines Bilderkosmos auftreten. Jede Zeichnung wird zudem durch einen vom Künstler verfassten Text begleitet, der den abgebildeten Szenen eine zusätzliche Dimension an Assoziationsmöglichkeiten verschafft. Van de Velde versteht seine künstlerische Arbeit dabei als eine einzige lange Geschichte. Zurzeit arbeitet Van de Velde an seinem ersten Filmprojekt. Die Ausstellung „Now I am the night of nights“ gewährt bereits einen exklusiven Einblick in den Plot dieses Films, der die neueste Grundlage für das zeichnerische Werk des Künstlers bildet: Ein Mann liegt auf dem Bett seines Hotelzimmers, im Halbschlaf tauchen Bilder vor seinem inneren Auge auf. Er versinkt in seltsamen Erinnerungen, in denen Tag- und Albtraum dicht beieinanderliegen. Wie es für Van de Veldes Arbeiten typisch ist, wird man durch die großen Leinwände, denen immer auch ein Text des Künstlers beigegeben ist, unmittelbar in seine Erzählung verwickelt. Spielerisch verwebt er darin subtile Anklänge an unser bildkulturelles Gedächtnis mit direkten Zitaten des Kanons moderner Kunst. Zur Ausstellung erscheint ein reich bebilderter Katalog mit Texten von Amely Deiss, Malte Kröger und Boris Pofalla zum Preis von 15,00 Euro. Der Künstler: 1983 in Löwen, Belgien, geboren lebt und arbeitet in Antwerpen Ausstellungen (Auswahl): 2018 Claude Sandoz. Ab auf die Insel!, Kunstmuseum Luzern 2017 The Colony, KÖNIG GALERIE, Berlin (E) 2016 Rinus Van de Velde, Gemeentemuseum, Den Haag 2015 Rinus Van de Velde, Tim Van Laere Gallery, Antwerpen (E) (E) Einzelausstellung Sammlungen (Auswahl): · Belfius Art Collection, Brüssel · Centro de arte contemporáneo de Málaga · Gemeentemuseum, Den Haag · S.M.A.K., Gent
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posted 02. Aug 2018

A Lost Future: The Otolith Group

01. Jun 201817. Sep 2018
opening: 01. Jun 2018 18:00
A Lost Future: The Otolith Group 01.06.2018 - 17.09.2018 Opening night celebration: 01.06.2018 18:00 - 22:00 free and open to the public Award-winning artist collective The Otolith Group will premiere their new film O Horizon beginning June 1 at the Rubin Museum of Art. The moving image work is the focal point of the second rotation of A Lost Future, a three-part exhibition featuring art from an evocative range of mediums by Shezad Dawood, Matti Braun, as well as other photographs and films by The Otolith Group. By challenging existing histories and considering speculative futures, the exhibition is part of the Rubin Museum’s 2018 thematic exploration of “The Future.” O Horizon, on view at the Rubin Museum from June 1–September 17, 2018, focuses on Visva-Bharati in Santiniketan, founded in 1921 by Nobel laureate Rabindranath Tagore, the cosmopolitan polymath who shaped Indian art, literature, music, and education. Filmed, recorded and researched over five years in West Bengal, O Horizon stages moments from Tagore’s environmental pedagogy as a series of studies and sketches that allude to what might be described as a “Tagorean cosmopolitics.” O Horizon draws upon the modernist theories of dance developed by Tagore as well as the experimental practices of mural, sculpture, painting and drawing developed by figures such as K.G. Subramanyan, Benode Behari Mukherjee, Nandalal Bose and Ramkinkar Baij, whose work shaped the ethos of generations of Indian modernists. Set in Santiniketan, Sriniketan and surrounding areas of Birbhum, West Bengal, O Horizon draws together song, music and recital, evoking a Tagorean imagination for the 21st century. “Through their research-based practice centered on the moving image, The Otolith Group addresses some of the most urgent histories and social and political concerns of today,” said Beth Citron, curator. “O Horizon considers the complexity of Tagore’s pioneering vision for Santiniketan as it has evolved, looking at how the school’s experimental ethos has impacted its environment locally and beyond.” The Rubin Museum will also feature other works and programming, including the films Otolith I, Otolith II, and Otolith III. Otolith III takes The Alien, an unrealized screenplay of the legendary Bengali director Satyajit Ray, as its point of departure. These films will be shown in the Rubin Museum’s theater on select dates and times. They will present earlier works, The Third Part of The Third Measure and Communists Like Us at e-flux, Eyebeam, and Asia Art Archive in America. Commissioned by bauhaus imaginista, O Horizon will also be presented at institutions around the world later this year as part of a celebration of the Bauhaus at 100. The Otolith Group and other artists featured in A Lost Future apply an investigative, rhizomatic approach to mining the past in order to broaden the possibilities for what is yet to come. The alternative histories suggested in A Lost Future transcend space, time, and cultures, disrupting conventional hierarchies and a linear sense of time. Themes of virtuality, modernity, and world-making through rich storytelling are central to the exhibition. A Lost Future is accompanied by a library highlighting the artists’ research-based practices, an audio guide, and a publication forthcoming in fall 2018, documenting all three rotations of the exhibition. The exhibition is part of the Rubin’s yearlong exploration of The Future, bringing together programs, exhibitions, and experiences that invites visitors to consider a future that isn’t fixed but fluid. A Lost Future is supported by Rasika and Girish Reddy, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Additional support has been provided by Amita and Purnendu Chatterjee, and contributors to the 2018 Exhibitions Fund. The film O Horizon was commissioned by bauhaus imaginista and co-produced with the Rubin Museum, with the kind support of Project 88. The exhibition is organized by Beth Citron.
Rubin Museum of Art, New York

Rubin Museum of Art | 150 West 17th Street, Chelsea
NY-10011 New York

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