daily recommended exhibitions

posted 08. Dec 2019

Danielle Dean. Trigger Torque

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

artist

Danielle Dean 

curator

Holger Otten 
Ludwig Forum, Aachen

Jülicher Straße 97-109
52070 Aachen

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posted 07. Dec 2019

Barbara Kruger - Forever

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

curator

Kyoungran Kim 
Amorepacific Museum of Art, Seoul

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

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posted 06. Dec 2019

Jean-Luc Mylayne: The Autumn of Paradise

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

curator

Bice Curiger 
Long Museum, Shanghai

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

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posted 05. Dec 2019

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

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

Rendezvous
CT9 1HG Margate

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posted 04. Dec 2019

Nancy Lupo. Scripts for the pageant

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

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

artist

Nancy Lupo 
Museum of Contemporary Art San Diego

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

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posted 03. Dec 2019

BELOVED BY PICASSO – THE POWER OF THE MODEL

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

artist

Pablo Picasso 
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posted 02. Dec 2019

JAMES WELLING - PLANOGRAPH

23. Nov 201905. Jan 2020
JAMES WELLING - PLANOGRAPH 23 November 2019 – 5 January 2020 Maureen Paley is pleased to present the fourth solo exhibition at the gallery by James Welling. ‘Greek and Hellenistic antiquities are the subject of Planograph. I started photographing ancient objects in museums ten years ago and in June I visited Greece for the first time. When I took up photography in my twenties, I thought of the medium as a time machine. This summer as I processed my digital camera files from Greece to mimic black and white 19th century film—white skies and dark earth tones—I realised that I was looping back to this early intuition about photography. Modelling 19th century technology is a form of time travel, a visual return to the albums of early archaeological expeditions, the first photographic imaginings of Greece. Recently I discovered flexible plate lithography, a form of planographic printing. Planographic plates print from a flat surface, as opposed to relief printing, such as etching. I image my plates on a laser printer, sponge with water and ink with traditional artist’s oil paint. Rather than printing the result, I present the inked surfaces as photographic objects. I came to photography through books printed by such legendary houses as the Triton Press, Meridian Gravure and Rapoport Printing. In the matte tonalities and halftone dots of Planograph, I am paying tribute to the 20th century printers who introduced me to photographic seeing.’ - James Welling

artist

James Welling 
Maureen Paley, London

21 Herald Street
E2 6JT London

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posted 01. Dec 2019

Sarah Lucas

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

artist

Sarah Lucas 

curator

Yan Shijie 
Red Brick Art Museum, Beijing

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

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posted 30. Nov 2019

Carroll Dunham / Albert Oehlen. Bäume / Trees

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

artists & participants

Carroll Dunham,  Albert Oehlen 
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posted 29. Nov 2019

Bridget Riley

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

artist

Bridget Riley 
Hayward Gallery, London

Southbank Centre | Belvedere Road
SE1 8XZ London

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posted 28. Nov 2019

Discrete Austrian Secrets

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

Im Licht der Nacht – Vom Leben im Halbdunkel

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

Goebenstr. 4-10
32052 Herford

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posted 26. Nov 2019

Tala Madani. Shit Moms

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

artist

Tala Madani 
Wiener Secession

Friedrichstraße 12
A-1010 Vienna

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posted 25. Nov 2019

Johannes Bendzulla. Schon wieder fühlen

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

PETRA RINCK GALERIE | Birkenstrasse 45
40233 Dusseldorf

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posted 24. Nov 2019

CONVEX / CONCAVE. Belgian Contemporary Art

31. Oct 201912. Jan 2020
WIELS presents an exhibition at Tank Shanghai CONVEX / CONCAVE. Belgian Contemporary Art 31.10.2019 - 12.01.2020 WIELS and TANK Shanghai are collaborating on a large thematic exhibition Convex/Concave: Belgian Contemporary Art, featuring 15 contemporary Belgian artists: Francis Alÿs, Harold Ancart, Michaël Borremans, Jacques Charlier, Berlinde De Bruyckere, Jos de Gruyter & Harald Thys, Koenraad Dedobbeleer, Edith Dekyndt, Michel François, Ann Veronica Janssens, Thomas Lerooy, Mark Manders, Valérie Mannaerts, Luc Tuymans, Sophie Whettnall The selection of works made by WIELS is based on a reflection on the dualist nature of all modern art, departing more specifically from the model of Belgian artists, on extroversion and self-centredness, a convex/concave dynamic that relates to and finds an echo in the way artists represent and imagine an equilibrium between self and world. The capacity to make precise, detailed observations of the tangible, everyday world instead of relying on grand philosophical, abstract and conceptual schemes makes up the singularity of the art of the Low Countries, an ability that shares many similarities with Chinese artists. The exhibition elaborates on the convex/concave dualism between an exteriorisation, relation-oriented worldview and an inward, protectionist view. TANK Shanghai will present the exhibition Convex/Concave: Belgian Contemporary Art for a period of three months.
TANK Shanghai

2350 Longteng Ave, Xuhui
Shanghai

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posted 23. Nov 2019

Hito Steyerl

23. Nov 201926. Jan 2020
opening: 22. Oct 2020 07:00 pm
Hito Steyerl 23.11.2019 - 26.01.2020 Eröffnung: Freitag, 22.10.2020 19:00 Uhr Kurator: Marius Babias Hito Steyerl, die unsere Welt in Zeiten von Hyper-Kapitalismus, digitalem Lebenswandel, Globalisierung und zunehmenden politischen Krisen künstlerisch und gesellschaftstheoretisch reflektiert, gehört zu den einflussreichsten Künstler*innen der Gegenwart. 2008 präsentierte sie im Neuen Berliner Kunstverein (n.b.k.) ihre erste Einzelausstellung in einer deutschen Institution, in deren Folge die Monografien Hito Steyerl (2010) und Hito Steyerl. Jenseits der Repräsentation (2016) vom n.b.k. herausgegeben wurden. 2019, im Jahr des 50. Gründungsjubiläums des Neuen Berliner Kunstvereins, widmet der n.b.k. ihr erneut eine Einzelausstellung, welche die Videoinstallation This is the Future (2019) gemeinsam mit der speziell für die Ausstellung entstandenen, raumgreifenden Arbeit MISSION ACCOMPLISHED: BELANCIEGE präsentiert. Zusammen mit den Künstlern Giorgi Gago Gagoshidze (*1983 in Kutaissi / Georgien) und Miloš Trakilović (*1989 in Tuzla, Bosnien und Herzegowina) entwickelte Steyerl im Rahmen der Ausstellung eine neue Lecture, in der ihre Beschäftigung mit kapitalistischen Produktionsverhältnissen, Konsumkultur und Kommodifizierungsmechanismen fortgeführt wird. Die Ausstellung ermöglicht den Besucher*innen, die Dringlichkeit und Aktualität von Steyerls künstlerisch-politischer Praxis und ihren Themenschwerpunkten zu erfahren. Biografisches Hito Steyerl wurde 1966 in München geboren und lebt und arbeitet in Berlin. Sie studierte Dokumentarfilm und -theorie an der Academy of Visual Arts in Tokio (1987–1990) sowie an der Hochschule für Fernsehen und Film München (1992–1998) und promovierte in Philosophie an der Akademie der Bildenden Künste Wien (2003). Seit 2011 lehrt sie als Professorin an der Universität der Künste Berlin. Einzelausstellungen (Auswahl): Kunstmuseum Basel (2018); The Institute for Contemporary Art, Boston (2017); Kunsthall Charlottenborg, Kopenhagen (2016); LUMA Foundation, Arles (2016); Museum of Contemporary Art, Los Angeles (2016); Bank, Shanghai (2015); Tensta Konsthall, Stockholm (2015); Institute of Modern Art, Brisbane (2015); Artists Space, New York (2015); Museum of Art, Dallas (2015); Museo Nacional Centro de Arte Reina Sofía, Madrid (2015); Van Abbemuseum, Eindhoven (2014); Institute of Contemporary Arts, London (2014); Künstlerhaus Stuttgart (2014); Museo Universitario de Arte Contemporaneo, Mexiko-Stadt (2014); Museum of Contemporary Arts San Diego (2013); Art Institute of Chicago (2012); Overgaden Institute of Contemporary Art, Kopenhagen (2013); Chisenhale Gallery, London (2010); Villa Stuck, München (2010); Henie Onstad Art Centre, Oslo (2010); Neuer Berliner Kunstverein (2008). Gruppenausstellungen (Auswahl): 58. Venedig Biennale (2019); Skulptur Projekte Münster (2017); Hasselblad Center, Goeteborg (2016); 32. São Paulo Biennale (2016); Kunsthal Aarhus, (2016); Moderna Museet, Stockholm (2016); Gwangju Biennale (2016); Whitechapel Gallery, London (2016); Kunsthalle Wien (2015; 2014); ZKM, Karlsruhe (2015); Migros Museum für Gegenwartskunst, Zürich (2015); 56. Venedig Biennale (2015); Musée d’Art Moderne de la Ville de Paris (2015); Museum of Modern Art, New York (2014); Stedelijk Museum, Amsterdam (2014, 2013); Walker Art Center, Minneapolis (2013). Zudem nahm Steyerl an der documenta 12 (2007) teil.

artist

Hito Steyerl 

curator

Marius Babias 
n.b.k. Neuer Berliner Kunstverein

nbk & Artothek | Chausseestr. 128/129
10115 Berlin

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posted 22. Nov 2019

SINGAPORE BIENNALE 2019

22. Nov 201922. Mar 2020
SINGAPORE BIENNALE 2019 'EVERY STEP IN THE RIGHT DIRECTION' 22.11.2019 - 22.03.2020 The Singapore Art Museum (SAM) announces the title of the sixth edition of the Singapore Biennale: Every Step in the Right Direction. Through this title, Singapore Biennale 2019 (SB2019) will explore curatorial and artistic themes common to our human conditions and the catalytic role ‘hope’ plays in pushing for change. SB2019 will pivot on Southeast Asia, and from there, extend to the rest of the world. The international contemporary art exhibition is organised by SAM and commissioned by the National Arts Council, Singapore. SB2019 Title: Every Step in the Right Direction Helmed by Patrick Flores as SB2019 Artistic Director, and with a curatorial team of six members from Singapore, Southeast Asia and beyond, Singapore Biennale 2019: Every Step in the Right Direction focuses on the imperative of making choices and taking the steps to consider current conditions and the human endeavour for change and betterment. SB2019 reflects on the potential and abilities of the artists to rework the possibilities of the world. It also invites the audience to be open to such works and to such a world that is made different through the making of these works, and, thus, also attempting to make the world right. Through the act of artistic exploration, SB2019 invites participation to transform the world around us, and to get things done the right way. This process begins with a step, from a crucial decision to make changes happen. The reiteration of this commitment leads to the right direction—a direction that each of us is entitled to move towards. Informed by such an impulse, SB2019 offers a sustainable, self-renewing project of change, and moves everyone to act—to make a step. Patrick Flores, Artistic Director of SB2019 explains, “It may be said that the world is troubled. To sense such a state of flux is to acknowledge the situation and begin to face it. For Singapore Biennale 2019: we ask – what is the possibility of art, the artist, and the audience in light of this trouble? What is the responsibility of the artwork, its making, and its experience in the prospects of future action? As we believe, every effort to change the world for the better matters. SB2019 puts its faith squarely in the potential of art and its understanding to rework the world, expressed in the Biennale title: Every Step in the Right Direction.” SB2019 Curatorial Model Led by Patrick Flores, the Artistic Director of the Singapore Biennale, the curatorial team consists of a combination of in-house and external curators, including SAM Assistant Curators Ms. Andrea Fam and Mr. John Tung, National Gallery Singapore Assistant Curator Ms. Goh Sze Ying, Manila-based independent researcher and curator Mr. Renan Laru-an, art historian and Seoul-based independent curator Ms. Anca Verona Mihulet, and Bangkok-based independent curator Vipash Purichanont. Born in the 1980s and early 1990s, the six curators offer a perspective from their generation, with an aim to enhance the potential of SB2019 to fully engage with the "current" atmosphere of both discourse and expression. Dr June Yap, SAM’s Director of Curatorial, Programmes and Publication says, “The Singapore Biennale is envisioned by SAM as an opportunity to engage with the public on matters of the human condition through contemporary art, its contexts and related discourses. The appointment of Patrick Flores as Artistic Director for SB2019 puts into practice SAM’s commitment to enriching exchanges and championing aesthetic appreciation. We are thus encouraged by the Biennale’s proposition of the meaningfulness of the aesthetic act and its potential for positive transformation.” * Artistic Director’s Statement: It may be said that the world is troubled. To sense such a state of flux is to begin to face it. What is the possibility of art, the artist, and the audience in light of this trouble? What is the responsibility of the artwork, its making, and its experience in the prospects of future action? Every effort to change the world for the better matters. The Singapore Biennale 2019 puts its faith squarely in the potential of art (and its understanding) to rework the world, expressed in the Biennale title: Every Step in the Right Direction. In this examination of act and action, the Biennale then considers the necessity of the step, that is prompted by the Biennale’s geography, itself spanning nodes and locations across the city of Singapore, thus inviting audiences to be inspired in an exploration. Furthermore, we observe this everyday but decisive act of walking in artistic practices, such as of Singapore artist, Amanda Heng. Utilising the act of walking in a number of performances (for example, Let’s Walk, first performed in 1999), Heng presents her audience with moments for moving forward, looking back, turning inward, venturing outward with others, in so doing, engendering reflection, the speculation or adoption of other perspectives, and the consideration of pasts. As artistic director of the Singapore Biennale 2019 and a scholar of Southeast Asian art, in my effort to deepen the conversation on the need for an ethical gesture in our time and in history, I recall the words of Salud Algabre, who, in the 1930s in the Philippines, played a central role in a peasant movement that did not appear to achieve its immediate intentions. Responding to a scholar on the perception of its failure, Algabre reasoned that no movement fails, “each one is a step in the right direction.” This apparently counterintuitive reply opens up for rethinking the condition of failure and the chance at transformation. In relation to art and its investigation of material and its ecologies, it might then be that this counterintuition restores hope as a medium of continuous conversions and as a method of getting things done the right way, but only in light of steps taken and decisions made about the right direction. Informed by such an impulse, SB2019 offers a sustainable, self-renewing project of change, and moves everyone to act – to make a step. Patrick Flores Artistic Director Singapore Biennale 2019
Singapore Biennale

1 Coleman Street
179803 Singapore

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posted 21. Nov 2019

Slavs and Tatars: Pickle Politics

17. Oct 201931. Jan 2020
A new contemporary art space at the site of Sugar Beach in Toronto SUGAR opens within Toronto’s emerging East Bayfront neighborhood at the Daniels City of the Arts. The area’s historic Redpath Sugar Refinery provides the conceptual framework for SUGAR: a 3-year curatorial project directed by Ala Roushan and Xenia Benivolski. Between 2019–22, SUGAR will feature exhibitions, performances, publications and new commissions from local and international artists with a focus that challenges the related notions of site specificity and public art. * Slavs and Tatars: Pickle Politics 17.10.2019 - 31.01.2020 Opening: October 17, 6–10pm Pickle Politics is the inaugural exhibition at SUGAR by the artist collective Slavs and Tatars. In the context of our site, the artists activate a cycle of work that uses fermentation to consider the transformative conditions of politics and culture. Ogórek Trocki posters, repeating the image of a lost pickle-cucumber specimen, desired for its high sugar content, set the stage for a lecture marathon by Slavs and Tatars. Six consecutive lectures punctuate the exhibition, connecting the subject of fermentation with transliteration, language, cultural transference, and colonialism. Hamdami loops to illustrate the coincidences of language as simultaneously political and metaphysical. And the Pickle Juice Bar provides an opportunity to consume other life as microbiomes: Pickle Politics looks to the practices and symbolism of fermentation, constructing a political argument using notions of the rotten, the spoiled, and the soured. (Slavs and Tatars, 2016). Slavs and Tatars’ practice has been devoted to the area east of the former Berlin Wall and west of the Great Wall of China, known as Eurasia. Fermentation is emblematic of our current times, as political forces in Russia, Asia and the Middle East challenge traditional axes of power: this cosmo-political balancing act continues to shape, reflect and drive forward ideologies that square the East and the West with contingent processes of life and death. The notion of fermentation offers another space between cultural and geographical territories, shifting beyond the Levi-Strauss trichotomy of the “raw,” the “cooked” and the “rotted.” Fermentation is that life-giving, death-driven process that takes place outside of what we think of as progress: a problematic historical approach that conflates the raw/cooked with the primitive/advanced. Activating the microbiomes that comprise a critical mass within the human body, fermentation affects our biological, ecological and political boundaries with generative potential. SUGAR is a city-based project that tracks urban transformation through diaspora, public intervention and political potential. The city is changing; its public spaces, expressions and attitudes have an opportunity to transform. Pickle Politics is a project about fermentation, about the forming of culture anew, through engaged transformation, conversation, and the inclusion of other forms of life. * Slavs and Tatars is an internationally-renowned art collective devoted to an area east of the former Berlin Wall and west of the Great Wall of China known as Eurasia. Their work has been the subject of solo exhibitions at the Museum of Modern Art, NY; Salt, Istanbul; Vienna Secession; Kunsthalle Zurich; Albertinum Dresden; and Ujazdowski Centre for Contemporary Art Warsaw, among others. The collective’s practice is based on three activities: exhibitions, publications and lecture-performances. In addition to their translation of the legendary Azerbaijani satirical periodical Molla Nasreddin (currently in its 2nd edition with I.B. Tauris), Slavs and Tatars have published ten books to date, most recently Wripped Scripped (Hatje Cantz, 2018) on the politics of alphabets and transliteration. Their work is currently on view at the 58th Venice Biennale: May You Live in Interesting Times.
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posted 20. Nov 2019

Wangechi Mutu. The NewOnes

09. Sep 201908. Jun 2020
Exhibition Location: The Met Fifth Avenue Facade Wangechi Mutu. The NewOnes The Met to Extend Display of Wangechi Mutu Sculptures Through June 2020 09.09.2019 - 08.06.2020 (New York, November 6, 2019)—The Met announced today that The Facade Commission: Wangechi Mutu, The NewOnes, will free Us has been extended by five months; Wangechi Mutu's four sculptures will remain on view in the niches of The Met Fifth Avenue facade through June 8, 2020. The installation went on view on September 9, 2019, inaugurating The Met's new annual commission for the Museum's facade. "Wangechi Mutu's deeply powerful sculptures fuse the art of the past with perspectives from the present into these entirely original works of art that have been inspiring conversations and reactions from visitors and passersby since they were unveiled," said Max Hollein, Director of The Met. "We are thrilled to announce that The NewOnes, will free Us will remain on view through the spring, and honored to have these striking figures preside over the Museum as we usher in The Met's 150th anniversary in 2020." Originally scheduled to close on January 12, Wangechi's four bronze sculptures—known individually as The Seated I, II, III, and IV and as a group they bear the title The NewOnes, will free Us—are as poetic as they are fantastic and engage in a pointed critique of gender and racial politics. With The NewOnes, will free Us, the artist has reimagined a motif common to the history of both African and Western art: the caryatid, a sculpted female figure meant to serve as a means of either structural or metaphorical support. Whether carved out of wood for the prestige stool of a West African king or chiseled out of marble for a building on the Athenian Acropolis, the caryatid has always been confined to her role as a load-bearer. For her part, Wangechi stages a feminist intervention, liberating the caryatid from her traditional duties and her subservient status. Wangechi does so, moreover, in the context of a neo-classical facade whose original architects sought to convey a far more conservative set of values.

artist

Wangechi Mutu 
Metropolitan Museum of Art, New York

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

United States of Americashow map
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posted 19. Nov 2019

Sang Huoyao

27. Oct 201926. Nov 2019
Long Museum West Bund Sang Huoyao 27.10.2019 - 26.11.2019 Curator Gregor Jansen Organizer Long Museum West Bund Long Museum West Bund will hold Affective-Imagoism Art: Sang Huoyao’s Solo Exhibition ·Shanghai on October 27th to November 26th, 2019 which will be curated by international well-known curator Gregor Jansen. This exhibition is a systematic display and sorting of the achievements of the art exploration of Affective-Imagoism Art made by Sang Huoyao, an ink painting artist of significant influence in China in the recent twenty years. According to the combination of the rhythmic exhibition space in Long Museum and the unique artistic style of Sang Huoyao’s works, curator creates the whole exhibition as a spring-greeting blossom time-space tunnel from the earth to the heaven and eventually back to the earth, which bringing the audience a metaphysical immersive spiritual experience and a brand-new aesthetic experience in the vision. Today, the era is bound by technology and desire under the process of globalization. With the rapid pace, covering, refreshing and shielding have become what everyday concerns. From the perspective of Oriental philosophy, Sang Huoyao focused on the issues of existence and disappearance, rationality and sensibility, space and non-space, etc. The accumulation of ink in his works not only dispels the reality or thematic content, but also implies the shielding of the existing reality and the elimination of the material society. Through the method of overlapping and shielding, the pattern appears to be nothing in the plane, the imago in Sang Huoyao’s works actually contains the reality of metaphysical speculation. The glory of the human and divine which coming from the self-witness realizes the individual consciousness in speculative free-access. That is also a kind of annotation of artistic conception of Affective-Imagoism Art. This exhibition is divided into four parts: “the world opens up on a secluded spot”, “the universe leads to an enchanting view”, “the unity of heaven and human” and “the perfection in everyone’s own free will”. There is a total of 52 works that mainly easel paintings, as well as installations, collages and new media. Most of them are created in the past ten years. Into those works Sang Huoyao poured his real feelings and integrated into the contemporary aesthetic context. Single pieces or series display which inspires the connection between individuals and groups of works and constructs the visual effect of Affective-Imagoism Art aesthetics: mysterious, lofty, pure, quiet and profound. Several of the large pieces are closely integrated with 12-meter-high exhibition hall in the museum. Among them, the work “Deeply Believe” (538 cm x 660cm) resides audiences into black hole in the universe and raise audiences’ awareness of the space and time. And the work “The Ideal World” (398 cm x 1090cm) is to reflect on the uncertainty of the reality and the future. Other groups (size 538 cm x 218cm) are combinations of large size colorful ink paintings. They are a kind of transcendent thinking and record for the natural and life. At the same time, 12-meter-high silk scroll of ink painting installation “Love Songs on the Mountain” will rise straight up in the middle of the space. Its gentleness is singing for our era and life. Sang huoyao has been engaged in the creation of Chinese literati art for quite a long time. He is deeply familiar with the tradition of painting art in Song and Yuan Dynasty, especially Mi Fu’s and Ni Zan’s painting art. With the transformation of social modernization, he has been adhering to the contemporary of Chinese ink painting and the exploration of the internationalization of ink painting since 1998. Sorted out from his own creative practice, he combines the eastern philosophy and aesthetics with an artist’s unique comprehension to the present. Then his continuous pursuit of metaphysical spiritual purport gradually formed a methodology of squares overlapping and his own theory of Affective-Imagoism Art, then they eventually become his own unique art language and symbols. He successively held his solo exhibitions in the National Art Museum of China, Today Art Museum, China Arts Museum and Guangdong Museum of Art. The symbol of those squares is inspired by the symbols of hexagrams in the Book of Changes and Chinese characters. The form of square is rational and a kind of control, while the infiltration of ink is uncertain and a kind of anti-control natural force, just like the natural taste of cracked ice pattern in some Chinese porcelain. Through continuous applying colors to paintings by a single stroke of squares, Sang Huoyao makes all of concrete objects and images in the space appear one by one. Here reason and sensibility interweave with each other to form a spiritual universe space that can be magical. The process of accumulating ink is also the process of time and energy accumulation. The touch of “jade” and the form of cracked ice pattern of porcelain by continual accumulating in a way of meditation show the slice of time and space of life and the chaotic universe. It also obtains the time thickness and space dimension, reopens the plane of painting, dissolves the existing existence, and conveys the emptiness, peace and tranquility. The barely visible sense of light in the middle of the work emerges from the cracks overlapped by squares through the special infiltration effect of Chinese ink, which forming the shock and penetrating power of “the fusion of light and Chi”. Light, which originates from the conduction of cosmic particles, has the form of movement through time and space. In the consciousness of human life, light has divine power. Everything has a crack, and the light always shines where there is the most spiritual value. About the artist Sang Huoyao who is born in 1963. He graduated from the department of traditional Chinese painting in China Academy of Art with a master’s degree. Now he is a member of the Artistic Creation Steering Committee in Chinese National Academy of Arts. He is also the vice-president of China National Academy of Painting. He is the creator of Affective-Imagoism Art. Adding to his multi-varied background is also his experience as a researcher in the “Wu Guanzhong Research Center” in Tsinghua University and a member of Chinese Artists Association. His works have been collected by National Art Museum of China, China Arts Museum, Zhejiang Art Museum, Guangdong Museum of Art, as well as the Today Art Museum in Beijing. They can also be found at the venue of the G20 Hangzhou Summit and China International Import & Export Expo under long term display. Now he lives and works in Beijing. About the curator Gregor Jansen, an internationally well-known curator, art critic and free-lancer author. Now he is the director of Kunsthalle Düsseldorf. From 2005 to the end of 2009, he headed the ZKM | Museum of Contemporary Art in Karlsruhe. At Kunsthalle Duesseldorf exhibitions amongst others with Hans-Peter Feldmann, KRIWET, Tomma Abts, Chris Martin, Koo Jeong A, Tal R, Yin Xiuzhen, Michael Kunze, André Thomkins, Marijke van Warmerdam, Song Dong, Liu Xiaodong as well as Joseph Beuys at How Art Museum, Shanghai.Now he lives and works in Germany.

artist

Sang Huoyao 

curator

Gregor Jansen 
Long Museum, Shanghai

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

Chinashow map
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