daily recommended exhibitions

posted 20. Jan 2019

4th Shenzhen Independent Animation Biennale

08. Dec 201810. Mar 2019
The 4th Shenzhen Independent Animation Biennale 'Expanded Animation' 08.12.2018 - 10.03.2019 Expanded Animation, a concept from Siegfried Zielinski, explores how artists using new method and media bring life, or animate, non-living things using both cinematic and non-cinematic animated forms. The 4th Shenzhen Independent Animation Biennale is one of the youngest events of its kind dedicated to the art of independent animation and continues to exceed expectations with its innovative approach and curation through new commissions and international and national collaborations—giving the format of biennale of the future. Two simultaneous year-long academic collaborative projects between the Biennale and Karlsruhe University of Arts and Design and Sichuan Academy of Arts have produced 14 new independent animated works. Curated by Daniel Franke and Tang Yong these works by students and professors express and combine complexity, daily objects, algorithms, and local cultural phenomenon. At the Biennale their work shows the process, result and beyond. Throw Your Shadows, by Swiss artist Augustin Rebetez, is curated by Holly Roussell. The never-before-exhibited, site-specific commission was produced during a residency in Shenzhen during May and December 2018. Uniting light engineering, painting, photography, sculpture, and noise, the work turns a stop-motion animation film into an epileptic full audiovisual immersive space. Nam June Paik Art Center and curator Jinsuk Suh, present a series of works from the Nam June Paik archive in context with works by Ho Tzu Nyen, Xu Bing and Bruce Conner. June Paik’s Good Morning Mr. Orwell (1984) leads the visitor to think of early TV broadcasting systems and when put in dialogue with new works by Ho and Xu using found footage, and online data streaming evokes the artistic possibilities of secrecy and reality. Finally, Yang Jing leads the Biennale into a new future with games and emotions. In her exhibition of video games, Co-Inhabitant, the interactive interface of animation allows people to explore minutiae of life’s secrets and the secret of the game. The 4th Shenzhen Independent Animation Biennale is produced by Li Zhenhua & He Jinfang and curated by Jinsuk Suh, Holly Roussell, Tang Yong, Yang Jing, and Daniel Franke, the screening program is curated by Cao Kai & Xue Feng, the archive is curated by Yidi Cao. With thanks to all participating artists and the people who supported us with a dedicated passion for art, and full belief in OCT-LOFT Shenzhen.
Shenzhen Independent Animation Biennial

OCT-LOFT B10, North District
https://www.iab-arch Shenzhen

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posted 19. Jan 2019

ANTON VIDOKLE | IMMORTALITY FOR ALL: A FILM TRILOGY ON RUSSIAN COSMISM

19. Jan 201916. Mar 2019
ANTON VIDOKLE | IMMORTALITY FOR ALL: A FILM TRILOGY ON RUSSIAN COSMISM. 19.01.2019 - 16.03.2019 ARTIST TALK WITH RECEPTION TO FOLLOW. Anton Vidokle in conversation with Adam Khalil. SATURDAY 19 JANUARY, 2:00PM AT THE COMMONS @ 401 YYZ Artists’ Outlet is pleased to present Anton Vidokle’s Immortality for All: A Film Trilogy on Russian Cosmism, a ninety-six minute film in Russian with English subtitles and music by John Cale and Éliane Radigue. Today the Russian philosophy known as Cosmism has been largely forgotten. Its utopian tenets – combining Western Enlightenment with Eastern philosophy, Russian Orthodox traditions with Marxism – inspired many key Soviet thinkers until they fell victim to Stalinist repression. In this three-part film project, artist Anton Vidokle probes Cosmism’s influence on the twentieth century and suggests its relevance to the present day. In Part One he returns to the foundations of Cosmist thought (This Is Cosmos, 2014). Part Two explores the links between cosmology and politics (The Communist Revolution Was Caused By The Sun, 2015) and Part Three restages the museum as a site of resurrection, a central Cosmist idea (Immortality and Resurrection for All!, 2017). Combining essay, documentary and performance, Vidokle quotes from the writings of Cosmism’s founder Nikolai Fedorov and other philosophers and poets. His wandering camera searches for traces of Cosmist influence in the remains of Soviet-era art, architecture and engineering, moving from the steppes of Kazakhstan to the museums of Moscow. Music by John Cale and Éliane Radigue accompanies these haunting images, conjuring up the yearning for connectedness, social equality, material transformation and immortality at the heart of Cosmist thought. ANTON VIDOKLE is an artist and editor of e-flux journal. He was born in Moscow and lives in New York and Berlin. Vidokle’s work has been exhibited internationally at Documenta 13 and the 56th Venice Biennale. Vidokle’s films have been presented at Bergen Assembly, Shanghai Biennale, the 65th and 66th Berlinale International Film Festival, Forum Expanded, Gwangju Biennale, Center Pompidou, Tate Modern, Garage Museum, Istanbul Biennial, Haus der Kulturen der Welt, Tensta Konsthall and others. ADAM SHINGWAK KHALIL (Ojibway) is a filmmaker and artist. His practice attempts to subvert traditional forms of ethnography through humor, relation, and transgression. Adam’s work has been exhibited at UnionDocs, e-flux, Maysles Cinema, Microscope Gallery (New York), Museo ExTeresa Arte Actual (Mexico City), Spektrum (Berlin), Trailer Gallery (Sweden), Carnival of eCreativity (Bombay), and Fine Art Film Festival Szolnok (Hungary). Khalil is a UnionDocs Collaborative Fellow and Gates Millennium Scholar. In 2011 he graduated from the Film and Electronic Arts program at Bard College.

artist

Anton Vidokle 
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posted 18. Jan 2019

Franz Gertsch. Bilder sind meine Biografie

17. Nov 201824. Feb 2019
Franz Gertsch zählt zu den bedeutendsten Schweizer Künstlern der Gegenwart. Vom 17. November 2018 bis 24. Februar 2019 zeigt die Kunsthalle zu Kiel rund 50 ausgewählte Gemälde, Holzschnitte und Aquarelle aus der Schaffenszeit von 1961 bis 2018. Die Ausstellung „Franz Gertsch. Bilder sind meine Biografie“ beinhaltet monumentale Portraits, Gruppenbilder, überdimensionale Naturdetails sowie Landschaften. Seit 2005 ist Franz Gertsch Ehrenbürger der Christian-Albrechts-Universität zu Kiel.

artist

Franz Gertsch 
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posted 17. Jan 2019

David Zink Yi

10. Oct 201803. Apr 2019
**Ort: Oberes Belvedere** David Zink Yi präsentiert in der Reihe Carlone Contemporary seine neueste Arbeit aus Keramik. Präzise modellierte Fangarme eines zerlegten Oktopus sorgen im barocken Ambiente des Belvedere für einen unerwarteten Anblick. Der vorangegangene gewaltsame Akt der Zerstückelung steht sinnbildlich für den Prozess künstlerischer Formgebung und menschlicher Aneignung. Das dem Menschen unähnlichste Lebewesen ist der Tintenfisch: Tintenfische bestehen aus Kopf und Gliedern. Sie können ihre Haut und ihre Extremitäten zum Leuchten bringen und sind in der Lage, Körperform und Erscheinungsbild blitzschnell zu verändern. In der ewigen Dunkelheit der ozeanischen Tiefe lebend, sind sie daran gewöhnt, einzig die Reflexion des eigenen Lichts wahrzunehmen. Als Antipoden des Menschlichen sind sie für David Zink Yi Abbild des Fremden per se. Die Objekte loten die Grenzen des Materials Keramik aus, dessen Transformationsprozess stets ein alchemistisches Moment innewohnt. 1973 in Peru geboren, absolvierte David Zink Yi in München eine Lehre zum Holzbildhauer, gefolgt von Studien an der Akademie der Bildenden Künste München und der Universität der Künste Berlin. 2012 stellte er im Neuen Berliner Kunstverein aus, 2013 war er auf der 55. Biennale von Venedig vertreten. In seinem multidisziplinären Schaffen spürt der Künstler sozialen Strukturen und Identitätskonstruktionen nach und setzt sich mit dem künstlerischen Schaffensprozess auseinander. Zink Yi lebt und arbeitet in Berlin. Kuratorin: Stella Rollig

artist

David Zink Yi 

curator

Stella Rollig 
Belvedere, Wien °

Prinz Eugen-Straße 27
A-1030 Vienna

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posted 16. Jan 2019

Sanguine. Luc Tuymans on Baroque

18. Oct 201825. Feb 2019
Sanguine. Luc Tuymans on Baroque 18.10.2018 - 25.02.2019 Fondazione Prada presents the exhibition “Sanguine. Luc Tuymans on Baroque”, curated by Luc Tuymans, in its Milan venue from 18 October 2018 to 25 February 2019. Organized with M KHA (Museum of Contemporary Art of Antwerp) and KMSKA (Museum of Fine Arts of Antwerp) and the City of Antwerp, the project will be featured in Milan in a new and more extensive version, following its first presentation in the Belgian city from June to September 2018. Luc Tuymans conceived an intense visual experience presenting more than 80 works by 63 international artists, including 25 exhibited exclusively at Fondazione Prada. “Sanguine” is a personal interpretation of the Baroque based on innovative juxtapositions and unexpected associations of works by contemporary artists and Old Masters. Avoiding a rigid chronological order or a strictly historiographical approach, Tuymans evades the traditional notion of the Baroque and invites viewers to reconsider 17th century art, as well as the contemporary research, by placing artists and their role in society at the center of the exhibition narrative. In the wake of Walter Benjamin’s analysis, according to whom the Baroque marked the start of modernity, Tuymans explores the search for authenticity, the political significance of artistic representation, the emotional turmoil generated by art, the celebration of the author’s personality, and the international dimension of the art scene, recognizing the Baroque as a primary point of reference for today’s art. Not only does “Sanguine” push the traditional boundaries of the Baroque notion by extending its duration to the present day, but also it shows how over the past two centuries artists have helped redefine it, from the negative sense attributed to the word by art critics during the late 18th century, to the reassessment operated by Postmodernism and the re-establishment of a Baroque and figurative expressiveness in the art of recent years. The exhibition title—a word that signifies the color of blood, but also a violent and vigorous temperament, and a pictorial technique—suggests a multiplicity of perspectives to interpret the exhibited works, in which violence and its simulation, cruelty and dramatization, realism and exaggeration, disgust and wonder, terror and ecstasy coexist. In Luc Tuymans’ vision, Caravaggio—who is represented in the exhibition by the painting Boy Bitten by a Lizard (1595-96) and David with the Head of Goliath (post 1606)— was the first to transcend classical and Mannerist tradition thanks to the psychological realism expressed by his innovative pictorial language; he also embodied the spirit of the Baroque artist and the wish to communicate with the public through the power of representation. The comparison between Caravaggio and Peter Paul Rubens, the Antwerpian portraitist of prominent figures and himself a diplomat, reveals the formal ambiguity characteristic of Baroque painting and the complexity of the relations developed by artists in Europe during the Counter-Reformation and the rise of the merchant class. The Baroque art of the 17th and 18th centuries was the first global art movement, though it maintained the specific qualities and features of the different local cultures, as well as the sensibilities of the individual artists, represented in the exhibition by Guido Cagnacci, Andrea Vaccaro, Antoon van Dyck, Jacob Jordaens, Francisco de Zurbarán, and Johann Georg Pinsel, among others. In our even more globalized and connected world, suggestions, dynamics and themes typical of Baroque art can be identified in the works by contemporary artists geographically remote from one another and brought together by Luc Tuymans in “Sanguine.” Presented in Fondazione Prada’s Nord gallery, Podium and Cinema, the exhibition “Sanguine” also includes works by Nick Andrews, John Armleder, Carla Arocha and Stéphane Schraenen, Fred Bervoets, Jacques-André Boiffard, Michaël Borremans, Adriaen Brouwer, Pavel Büchler, Jake and Dinos Chapman, Vaast Colson, Njideka Akunyili Crosby, Roberto Cuoghi, Berlinde De Bruyckere, Thierry De Cordier, Willem de Rooij, Cornelis de Vos, Lili Dujourie, Marlene Dumas, Zhang Enli, Luciano Fabro, Giuseppe Gabellone, Marcel Gautherot, Isa Genzken, Joris Ghekiere, David Gheron Tretiakoff, Franciscus Gijsbrechts, Pierre Huyghe, Jonathan Johnson, On Kawara, Zlatko Kopljar, Dominik Lejman, Ives Maes, Mark Manders, Diego Marcon, Kerry James Marshall, Takashi Murakami, the Master of the annunciation to the shepherds, Bruce Nauman, Nadia Naveau, Cheikh Ndiaye, Vanja Radauš, Tobias Rehberger, Alex Salinas, Yutaka Sone, Henri Storck, Pascale Marthine Tayou, Javier Téllez, Paul Thek, Piotr Tolmachov, Luc Tuymans, Dennis Tyfus, Jan Van Imschoot, Jan Vercruysse, Michaelina Wautier and Jack Whitten.

curator

Luc Tuymans 
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posted 15. Jan 2019

Marcel van Eeden – Zigmund`s Machine

13. Jan 201924. Feb 2019
opening: 13. Jan 2019 11:00
In sieben Institutionen der Metropolregion startet am Sonntag, dem 13. Januar 2019, die 5. Biennale der Zeichnung. Unser Beitrag dazu ist die Ausstellung „Marcel van Eeden – Zigmund`s Machine“ * Marcel van Eeden – Zigmund`s Machine 13.01.2019 - 24.02.2019 Eröffnung am Sonntag, 13.01.2019 11:00 Uhr Der Künstler ist anwesend. Es spricht Hans-Peter Miksch, Leiter der kunst galerie fürth Marcel van Eeden wurde am 22.11.1965 in Den Haag, NL, geboren. Er studierte Malerei von 1989 bis 1993 an der Koninklijke Academie van Beeldende Kunsten, Den Haag. Von 2006 bis 2008 lebte er in Berlin, wo er als Teilnehmer der 4. Berlin Biennale für zeitgenössische Kunst (25.3.-5.6.2006) der internationalen Öffentlichkeit bekannt wurde mit einer Serie von 137 Zeichnungen. Seit 2008 lebt und arbeitet er abwechselnd in Zürich, Den Haag und Karlsruhe, wo er eine Professur an der Staatlichen Akademie der Künste innehat. Mit seinen malerisch angelegten Zeichnungen (die Grautöne und der Chiaroscuro-Effekt sind ihm wichtiger als die Linie ), die in der Regel Teil von Bildserien sind, ist Marcel van Eeden international bekannt. Bei der Technik beschränkt er sich im Wesentlichen auf den sogenannten Nerostift, dazu kommen im Einzelfall farbige Stifte oder Kreiden und das Aquarell. Für die Motiv-Findung hat er eine Spielregel aufgestellt: Marcel van Eeden verwendet seit 1985 Bildvorlagen (Fotos und Poster, Bücher, Magazine, Briefe), die alle aus der Zeit vor seiner Geburt stammen müssen. Gewissermaßen dreht er den Zeitfluss um, weil er seine Motivik aus einer im Laufe seines Lebens zunehmend weiter zurückliegenden Vergangenheit nimmt. Zurecht werden die Blätter immer wieder mit dem Film noir verglichen, oder zumindest mit Storyboards solcher Filme (Parallelen zu entsprechenden Graphic Novels eingeschlossen). Bild- und Textvorlagen werden zu mehr assoziativen als linearen Geschichten zusammengefügt, einzelne Serien-„Helden“ können in neuen Bildserien auftauchen. Ausgangspunkt dieses Interesses von van Eeden an einer vergangenen Gegenwart ist die grundlegende Überlegung, dass die Welt existiert hat vor der Geburt eines Individuums, wie sie nach seinem Tod existieren wird. Eine Überlegung, für die sich van Eeden auf Arthur Schopenhauer beruft, der sagte, dass es tröstlich sei, dass das Individuum aus dem Nichts kommt und wieder ins Nichts übergeht. Die Ausstellung zeigt einige großformatige Einzelzeichnungen, verschiedene Bilderserien (The Restaurant, 2013, The Room, 2013, High Mountains/Turm der Blauen Pferde, 2017) und eine extra für Fürth geschaffene neue Serie, der die Ausstellung auch ihren Titel verdankt, „Zigmund`s Machine“. Dieser Titel ist ein unvollständiges Anagramm aus GRUNDIG und METZ, die fiktive Handlung spielt im Fürth der Nachkriegszeit, in den Textfragmenten, die jede Zeichnung begleiten, finden sich verkappte Schopenhauer-Zitate gleichermaßen wie Anspielungen auf die Industriegeschichte Fürths, die mit Rundfunk- und Fernsehtechnik aufs Engste verbunden ist. Mit der Marcel van Eeden-Ausstellung gelingt der städtischen Galerie wohl ein substantieller Beitrag zur 5. Biennale der Zeichnung in der Metropolregion, bei der dieses Mal sieben Ausstellungsorte in Erlangen, Fürth, Nürnberg, Schwabach und Zirndorf zusammenarbeiten im Dienst zeitgenössischer künstlerischer Zeichnung! Zur Ausstellung gibt die städtische Galerie eine Publikation (Hardcover) der titelgebenden Bilderserie heraus. Eine kostenlose Broschüre zu den sieben Ausstellungsorten der 5. Biennale der Zeichnung liegt vor. Weitere Termine: Dienstag, 15.1., 14 Uhr Kunst am Dienstag – Zu alt für junge Kunst? (€ 4,-) Freitag, 18.1., 15 Uhr Öffentliche Führung (€ 4,-)
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posted 14. Jan 2019

Static Mythologies | Daniel Arsham

12. Jan 201916. Feb 2019
Static Mythologies | Daniel Arsham Galerie Ron Mandos, Amsterdam 12.01.2019 - 16.02.2019 Galerie Ron Mandos proudly presents Static Mythologies, an exhibition with new works by Daniel Arsham. The artist is well-known for his ‘fictional archaeology’: sculptures depicting iconic cultural objects from our age, turned into relics by the artist who casts them in geological substances such as volcanic ash, rose quartz, obsidian and glacial rock. With their eroded, fossilized look, the works have been referred to as ‘catalysts for the 21st century mind to travel backwards and forwards at once’. The artists draws inspiration from his childhood memories, American pop culture, his research at NASA laboratories and his visits to the Hellenic wing of the Metropolitan Museum. Artist Marc Quinn described Ashrams works as follows: ‘Like looking at our own culture through a million years telescope […] He gives us the macabre thrill of seeing our culture how others might see it centuries from now.’ The immersive installation Lunar Garden, one of Arsham’s signature architectural interventions, will see its European premier at Galerie Ron Mandos. The artist was inspired by his visits to Kyoto’s famous karesansui, or Zen gardens. ‘Whenever I visit them, they look as if time hasn’t passed. But in fact they are heavily maintained by the monks. In my works, too, this balance between permanence and impermanence is very important’. The artist views Lunar Garden as an ethereal space to think about the passing of time, which is a concept central to all of his works. For his eroded sculptures he carefully selects items that speak to a broad audience, such as magazine covers and objects used in popular sports. New to Arsham’s vocabulary of forms are his wrapped sculptures. These works refer to an art historical context: they are reminiscent of the wet drapery technique in Ancient Greek sculpture, but also of Christo and Jeanne-Claude’s iconic wrapped sculptures. The wrapping of objects was also used by Surrealists such as Man Ray, whose L'Enigme d'Isidore Ducasse (1920) inspired Arsham to apply concealing as a means to reveal an uncanny state within the object. About the artist Daniel Arsham (US, 1980) is based in New York. He straddles the line between art, architecture and performance. One of the founders of the seminal Miami artist-run spaces ‘The House’, he is interested in collaboration: he has worked with people such as legendary choreographer Merce Cunningham and musician Pharrell Williams. Arsham’s works have been show at places including The New Museum, New York, US; Festival de Avignon, FR; PS1, New York, US; The Museum of Contemporary Art Miami, US and Carré d’Art Nîmes, FR. Works by the artist can be found in the collections of Pérez Art Museum, Miami, US; DIOR Collection, Paris, FR; The Walker Art Center, Minneapolis, US and the Centre Pompidou, Paris, FR. Rizzoli has recently published a comprehensive monograph of Arsham’s work. Static Mythologies coincides with Daniel Arsham’s exhibition Connecting Time (18 January – 30 September) at Moco Museum, Amsterdam, co-created with the artist in collaboration with Ron Mandos Gallery and Perrotin.

artist

Daniel Arsham 
Ron Mandos, Amsterdam

Prinsengracht 282
NL-1016 HJ Amsterdam

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posted 13. Jan 2019

Open Codes. Leben in digitalen Welten

21. Oct 201707. Apr 2019
**venue: ZKM_Lichthof 8+9** Das ZKM feiert 2019 sein 30-jähriges Jubiläum mit zahlreichen Veranstaltungen und Ausstellungen. Ein Höhepunkt ist Writing the History of the Future, die Präsentation der umfangreichen Sammlung des ZKM. Die Ausstellung greift die großen Themen auf, die das ZKM im Laufe der 30 Jahre behandelt hat: den künstlerischen und gesellschaftlichen Wandel vor dem Hintergrund der Digitalisierung. Verlängerung von Open Codes bis 07. April 2019 Um diese historische Perspektive mit dem aktuellen bildungspolitischen Experiment Open Codes zu verbinden, wird die Ausstellung Open Codes bis zum 07. April 2019 verlängert. Ab 23. Februar wird im ersten Stock, in direkter Nachbarschaft, Teil I von Writing the History of the Future eröffnet. So wird es möglich, einen Bogen zwischen dem „Leben in digitalen Welten“ und der Geschichte der elektronischen und digitalen Kunst zu schlagen, zwischen der Ausstellungs- und Sammlungspraxis, die seit 30 Jahren gemeinsame Linien verfolgen. Teil I von Writing the History of the Future gibt Einblick in die Frühgeschichte der Partizipation und der Digitalisierung, die ja nicht nur in der elektronischen Kunst, sondern bereits in der experimentellen Literatur und bildenden Kunst traditioneller Medien angelegt war. Wir zeigen die Entwicklung der Mobilisierung der Kunst – vom bewegten Buchstaben zum bewegten Betrachter – von der Kinetik und Op-Art, über die frühe Computerkunst ab den 1950er-Jahren. Die durch die Sammlungspräsentation hergestellten neuen Bezüge erlauben das Verständnis der größeren Entwicklungslinien und der Entstehung aktuellster Entwicklungen im Feld digitaler Technologien. Aktuelle Ausstellung und Sammlung ergänzen sich in optimaler Weise. Das Publikum kann einen Parcours durch eine Geschichte der Kunst wählen, die noch einmal die Erinnerung an die Zukunft einlöst. * Mit der Ausstellung »Open Codes. Leben in digitalen Welten« widmet sich das ZKM | Karlsruhe erneut dem Thema der Digitalisierung und der Erfassung der Welt durch den binären Code. Die Welt verstehen, die wir bewohnen. Die Welt verstehen, in der wir leben. Die Welt verstehen, von der wir leben. Die allumfassende Digitalisierung der Welt, die disruptive Technologien hervorgebracht hat, welche die historischen Industrien und Lebensformen revolutionieren, verdankt sich zwei Entwicklungslinien: den Fortschritten der Mathematik und der Physik. Seit Newton bestimmen mathematische Formeln den Zugang der Physiker zur Welt. Der Nobelpreisträger Eugene Wigner formulierte diese Tendenz 1960 in seinem Aufsatz »The Unreasonable Effectiveness of Mathematics in the Natural Sciences«. Die mathematischen Theorien veranlassten Physiker, die theoretischen Vorgaben durch Experimente zu beweisen – von James Clerk Maxwell bis Peter Higgs. Ausgehend vom empirischen Nachweis der elektromagnetischen Wellen durch Heinrich Hertz 1886 hat die Physik die Entwicklung der drahtlosen Kommunikationstechnologie ermöglicht, welche unter anderem auch die Massenmedien Telefon, Radio, Fernsehen und Internet hervorbrachte. Diese neuen Kommunikations- und Speichertechnologien haben das soziale Leben und die Kultur auf ungeahnte Weise verändert. Die historischen Vorstellungen von Politik, Gesellschaft, Verkehr und Umgangsformen befinden sich in einer Phase fundamentaler Umwälzungen. Diese disruptiven Innovationen, die durch die Fortschritte der Konvergenz von Mathematik und Physik immer beschleunigter produziert werden und die unsere Lebensweisen rapide und radikal verändern, sollen in der Ausstellung breitgefächert und kritisch untersuchen werden. Mit der Ausstellung versucht das ZKM, durch Dokumente, Artefakte und Kunstwerke die Entwicklungslinien der Physik und Mathematik der letzten 300 Jahre aufzuzeigen. Die Konturen einer digitalen Philosophie und Kunst werden mittels Arbeiten von KünstlerInnen, WissenschaftlerInnen und IngenieurInnen thematisiert. Es werden der heutige Stand der innovativsten zeitgenössischen Digitaltechnologien, von Robotik bis künstliche Intelligenz, von Sensorentechnologie bis Bio-Design, sowie deren soziale, politische und gesellschaftliche Folgen vorgestellt. **Die Ausstellung als Bürgerlabor – das partizipative Museum** Als polyphones und multipolares Ereignis wird die Ausstellung zugleich Labor. In den ZKM_Hallen werden nicht nur digitale Technologien präsentiert, sondern diese selbst in vielfältiger Weise nutzbar gemacht. Die Ausstellung »Open Codes« ist der Entwurf eines Museums der Zukunft als ein prozesshaft sich verändernder Ort des Lernens. BesucherInnen werden zu Akteuren. Sie werden nicht mehr durch Ausstellungshallen an Kunstwerken vorbeiflanieren, wie in einer Shoppingmall, denn nicht umsonst hat das Wort »Galerie« eine Verwandtschaft zu dem Wort »galleria«, das soviel bedeutet wie Säulengang, Einkaufspassage und Geisterbahn. Digitale Kunstwerke verlangen, um zu entstehen, die Partizipation des Publikums, den Besucher als Benutzer. Daher wird die Ausstellung wie eine Lounge gestaltet sein, in der BesucherInnen verweilen und sich mithilfe digitaler Technologien in Werke vertiefen können – bis zum Grad, dass sie selbst damit experimentieren und spielend Wissen erwerben. Das Museum wird dadurch zum Bürgerlabor. Performative Elemente werden den bisherigen bloßen Schauplatz Museum zu einen Ort des Handelns, Verwandelns und Gestaltens machen. Das Ziel ist es, zu einem neuen Besucherverhalten zwischen Konzentration und Zerstreuung, zwischen Kontemplation, Immersion und Exploration zu motivieren. Begleitet wird die Ausstellung »Open Codes« durch ein umfassendes Rahmenprogramm an Vorträgen, Screenings und Symposien sowie einer mehrbändigen Publikation zum Thema des digitalen Codes. Kooperationspartner der Ausstellung sind unter anderen das Fraunhofer-Institut, das FZI Forschungszentrum Informatik, die Akademie Schloss Solitude sowie das KIT. **Beteiligte KünstlerInnen und WissenschaftlerInnen** Morehshin Allahyari, Isaac Asimov, Konrad Becker & Felix Stalder, Lisa Bergmann, James Bridle, Ludger Brümmer, Anton Himstedt, Chandrasekhar Ramakrishnan, Götz Dipper, Can Büyükberber, Emma Charles, Matthieu Cherubini, Arthur C. Clarke, Tyler Coburn, Max Cooper, Larry Cuba, Ted Davis, Frederik De Wilde, Simon Denny, Constant Dullaart, Margret Eicher, Jonas Eltes, César Escudero Andaluz & Martín Nadal, Cerith Wyn Evans, Claire L. Evans, Harun Farocki, Thierry Fournier, Kristof Gavrielides, Melanie Gilligan, Fabien Giraud & Raphaël Siboni, Chris Salter, Donna Legault, Julia Ghorayeb, Yannick Hofmann, Eduardo Kac, Helen Knowles, Jan Robert Leegte, Lawrence Lek, Armin Linke, Bernd Lintermann, Fei Liu, Christian Lölkes, Solimán López, Shawn Maximo, Rosa Menkman, Chikashi Miyama, Andreas Müller Pohle, Jörn Müller-Quade, Helena Nikonole, Julian Oliver, Pakui Hardware, Julian Palacz, Artemis Papageorgiou, Matthew Plummer-Fernandez, Julien Prévieux, Betty Rieckmann, robotlab, Curtis Roth, RYBN.ORG, Karin Sander, Scholz & Volkmer, Karl Sims, Rasa Smite & Raitis Smits, Space Caviar, Barry Stone, Monica Studer & Christoph van den Berg, Suzanne Treister, UBERMORGEN.COM, Ruben van de Ven, Harm van den Dorpel, Danja Vasiliev, Ivar Veermäe, ::vtol::, Clemens von Wedemeyer, Alex Wenger & Max-Gerd Retzlaff, Where Dogs Run, Stephen Willats, Manfred Wolff-Plottegg & Wolfgang Maass Die Ausstellung wurde konzipiert von Peter Weibel und kuratiert von Peter Weibel, Lívia Nolasco-Rózsás, Yasemin Keskintepe sowie Natalia Fuchs. **Kooperationspartner** Zu den Kooperationspartnern der Ausstellung zählen das Fraunhofer-Institut für Optronik, Systemtechnik und Bildauswertung, das FZI Forschungszentrum Informatik, die Akademie Schloss Solitude und das Karlsruher Institut für Technologie (KIT). **Rahmenprogramm** Die Ausstellung Open Codes. Leben in digitalen Welten wird von einem umfangreichen Rahmenprogramm mit Vorträgen, Filmvorführungen, Workshops und Symposien begleitet.
ZKM | Karlsruhe°

Lorenzstraße 19
76135 Karlsruhe

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posted 12. Jan 2019

Harvey Quaytman - Against the Static

17. Oct 201827. Jan 2019
This long-overdue, comprehensive retrospective presents work from throughout the four-decade career of Harvey Quaytman, an under-recognized figure in twentieth-century American painting noted for his monumental shaped canvases, material investigations, and interest in color as a pure medium. Drawing from private and museum collections, Harvey Quaytman: Against the Static features more than seventy paintings and drawings, including many of the artist’s rarely seen shaped canvases from the 1960s and 1970s. Quaytman’s groundbreaking body of work resides at the juncture of Abstract Expressionism, Minimalism, Process Art and Constructivism—where considerations of line, distilled geometric forms, materiality, atmosphere, and texture coalesce. In contrast to many of his contemporaries who were moving out of the studio and away from painting in the 1960s and 1970s, Quaytman remained committed to working on canvas and to pushing the modernist idiom in a new direction with monumental shaped canvases that demonstrated his unique vision and style. A native of Far Rockaway, Queens, Quaytman came of age in New York’s thriving downtown art scene of the late postwar era, just as Abstract Expressionism was beginning to wane and newer movements such as Minimalism and Pop Art were taking root. He began his career in the early 1960s, making gestural, abstract paintings inspired by the work of Willem de Kooning and Arshile Gorky. By the late 1960s, his focus on the character and shape of brushstrokes evolved into a unique style that blended minimalist abstraction with his interest in gesture, color, movement, and tactility. Influenced by twentieth-century icons Kazimir Malevich, Piet Mondrian, and Henri Matisse, Quaytman’s work reveals a fascinating interplay between earlier strands of European Modernism and American postwar abstraction. A self-professed “classical modernist,” Quaytman was deeply interested in the combination of shape, color, line, geometric pattern, and surface texture. Many of his earliest works employ the motif of a linear arc to create a lyrical, even playful effect—exemplified in such paintings as Second Cupola Capella (1969), above. His use of the curve is related to his interest in movement, propelling the eye across the painting. Quaytman developed a unique, sculptural mode of painting, making curved stretcher bars himself by scoring and steaming them in his studio in New York’s Bowery district. The resulting paintings, often distinguished by an arc shape that imbues them with a sense of movement, are also distinct for their attention to surface texture and experimental application of color as in Harmonica YP (1972), a highlight of BAMPFA’s collection. While these works display a rigorous commitment to formalism, they are simultaneously invested with rich undertones of sensuality, complexity, and humor. The mid-1980s heralded a new direction in Quaytman’s painting, although his systematic investigation of form, materials, color, shape, and movement remained. The new definitive shape assumed the form of equilateral crosses, within the confines of more traditional square and rectangular formats witnessed in a painting like Wanderer (1987). These works present an austere contrast to his early paintings. And yet, through subtle chromatic and linear shifts, Quaytman was able to inject novelty into the most stable and historical of forms, and to keep the viewer’s eyes in continual motion. As Quaytman once asserted in an interview, “my entire enterprise is against [the] static.” In conjunction with the opening of Harvey Quaytman: Against the Static, exhibition curator Apsara DiQuinzio presents a curator’s talk on Wednesday, October 17 at noon. On Saturday, October 20 at 1:30pm, DiQuinzio will be joined by a panel of scholars and artists for a symposium, Against the Static: New Perspectives on the Art of Harvey Quaytman. Panelists joining DiQuinzio for this discussion positioning Quaytman’s innovations within the history of abstraction in the United States and abroad include: R. H. Quaytman, noted artist and Harvey Quaytman’s daughter; Suzanne Hudson, associate professor of art history and fine arts at the University of Southern California; David Carrier, a philosopher who has written on Quaytman; and moderator Jennifer Gross, who knew Quaytman personally. Support Harvey Quaytman: Against the Static is organized by Apsara DiQuinzio, curator of modern and contemporary art and Phyllis C. Wattis MATRIX Curator, with Valerie Moon, curatorial assistant. The exhibition is made possible with lead support from the Terra Foundation for American Art, The Andy Warhol Foundation for the Visual Arts, R. H. Quaytman, Renee and David McKee, and Van Doren Waxter, New York. Additional in-kind support is provided by the Harvey Quaytman Trust.
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posted 11. Jan 2019

Kamen Stoyanov !

11. Jan 201922. Feb 2019
SARIEV Contemporary, Plovdiv presents: Kamen Stoyanov ! solo show 11 January – 22 February 2019 The vernissage will take place on 11 January, 4 pm – 8:30 pm in the presence of the artist The vernissage is part of the long weekend of the opening of Plovdiv – European Capital of Culture 2019 (11-13 January 2019) Guided tour in the exhibition with Kamen Stoyanov on 12 January, 6 pm - 6:30 pm Enjoy the ceremony of the official opening of Plovdiv - European Capital of Culture 2019 "We Are All Colors" from the close proximity of our friends' zone in artnewscafe on 12 January, 7 pm - 8 pm SARIEV Contemporary, Plovdiv is pleased to present the solo show "!" by the gallery represented artist Kamen Stoyanov. The exhibition will take place from 11 January to 22 February 2019 in the gallery space, and the vernissage will take place on 11 January, 4 pm – 8:30 pm in the presence of the artist. On 12 January will be held guided tour in the show with Kamen Stoyanov (6 - 6:30 pm). The vernissage is part of the long weekend of the opening of Plovdiv – European Capital of Culture 2019 (11-13 January 2019). Exhibition text by Boris Kostadinov - At the entrance of Sariev Contemporary we are welcomed by a neon sign: "Forget it, we can't afford this". I do not know what the audience's reaction is, but in me this work immediately provoked a funny memory when I tried to bring a group of friends who had nothing to do with modern art, in a gallery. Visibly respected by the super-intrusive gallery lighting and pretentiously exhibited works, they said, "Oh, that's not for us. Let's not go in here". In fact, I would have reacted the same way if I were in front of a showroom where Lamborghini's latest model was exhibited. Our second nature is to classify our social presence not only through our intellectual or moral, but also through our financial potential. But why does a gallery have to put such an absurd inscription on the entrance? To metaphorize absurdity. It is so common that we have long ago accepted it for granted. The art of Kamen Stoyanov often creates artistic metaphors from absurd circumstances or objects, and thus his connotations are concealed. If we stop studying such a phenomenology or cease to look for the social or political circumstances that have created it, then we risk ourselves becoming actors in the skillfully imposed, vast "absurd" parade of everyday life. Stoyanov's solo exhibition at Sariev Contemporary reminds us of this with the author's typically intellectual, unobtrusive and at the same time sufficiently sharp, concrete and visually startling language. His approach is often reminiscent of the classical image of a "mad" scientist misunderstood by his contemporaries, who is looking for his theses and antitheses in the quirks of everyday life. The "Phantasy is more important" cycle develops a fiction about three queerly looking guest houses in the village of Marchevo. A place that is half-deserted but has a mineral spring. Circumstances which, when placed in the context of the neoliberal world, imply the emergence of all kinds of marketing tricks. The video – part of the exhibition, begins with a skillfully crafted and yet sham doll in Madame Tussauds style. This is Albert Einstein, who dreamily watches something, leaning against the railing of a guest house's balcony, which on the top of it all is called “Einstein Spa Hotel”. The dignified gentleman is sunk into contemplation and silence that continue until the end of the video. In fact, "Phantasy is more important" is a quote taken precisely by Albert Einstein. Now he himself has become the subject of someone's unbridled fantasy, not aimed at creating new scientific theories, but emerged from the local entrepreneurial activity. As if creating cinematographic still-life, Stoyanov continues to shoot the other hotels in this strange Bulgarian village. There follows a semi-evil, semi-funny medieval castle, "sprouted" near the forest. Here the dose of butaforia is no less than that of Einstein's house. The imitation of the mysterious past penetrates through pallets that have just come out of the factory, with bricks and concrete elements. We reach the climax of the film. Believe it or not, but in Marchevo there is an absolutely real house that is built with its roof down. Everything in this house is upside down – the chimneys play the role of columns that support the construction, and visitors must, of course, enter through the roof in order to climb to the foundations of the house. Interiors also follow this logic, with beds legs and wardrobe legs protruding upwards. Only the living creatures that come into the house are subjected to gravity. Some new theory of relativity, absurdly in line with Mr Einstein's work, who lives at the neighbors. If the film "Phantasy is more important" gradates in line with the astonishment of the author, in the series of photographs, also part of this cycle, Kamen Stoyanov takes on the role of consumer of the magic offered by this unusual resort. He spends several days as a guest at Marchevo’s hotels. One of the photographs portrays the upside down house, but the personal belongings of the author are scattered in the yard. They are, however, placed in their usual form – without being turned upside down. This artistic approach, in addition to creating further confusion in the viewer, visualizes the artist's critical stance. The dilemma of whether to accept or not the dictate of absurdity that surrounds us daily and which enjoys an enviable stimulating economic and social reality, is resolved through a unobtrusive but categorical visual and conceptual expression that turns into a clear metaphor. A similar suggestion we get from the other photograph, which shows a glance from the hotel room to the courtyard pool. Outside, the world functions in its usual form. There is a floating naked body in the pool. Whether this is a Hockney's replica or a sophisticated critical analysis, the viewer must decide for himself. The third photograph takes us inside the castle. At this hotel, the artist spends his second magic night, in which a mysteriously luminous reflection is seen in the mirror on the wall of the hotel room. Given it is a medieval castle, the logical association would be the spirits of long-lived aristocrats. But are they not, in fact, the spirits of the local entrepreneurial commercial spread, since we saw that the castle was built of concrete modules and its rooms are air-conditioned and offer satellite TV? The last metaphor in the exhibition is "Sign of Exclamation" – an object-photograph. Such amateur urban interventions are common in Bulgaria. Someone has demonstrated self-initiative, and through found materials has hastily made a street sign to mark some territory or activity that is important for him. The author again documents an absurdity of everyday life, but it gradates in an even more absurd framework. The photo is placed on a real, badly done rigid pedestal. It is identical to the one on which the sign from the photograph is placed. The exhibition looks at some forms of imagination that is harnessed in the idea of ​​developing business models. Popular public art, which is used as an attraction for customers. Stoyanov does not only question the way in which popular art or visual attraction is used for commercial purposes. He intervenes skillfully in the existing infrastructure and explores how the contemporary artist placed in the context of mass culture can work on forms of art that make it similar to the forms of spectacle – with numerous and complex plot lines. Boris Kostadinov, December 2018 - Kamen Stoyanov was born in 1977 in Rousse, Bulgaria. He lives and works in Vienna and Sofia. He studied from 1996 to 2003 at the National Academy for Fine Arts in Sofia and from 2000 to 2005 at the Academy of Fine Arts in Vienna. Kamen Stoyanov’s work is multimedial including film, photography, video, performance, drawings, installation and the mixture of them. Over the past few years his films, actions, videos, installations, photographic works and performances have been shown, among others, at exhibitions such as “In-Visible” (Cultural Center Tobacna, Ljubljana, 2018, solo); “Exhibiting the Exhibition” (Kunsthalle Baden-Baden, 2018); WRO Biennale (WRO Art Center, Wroclaw, 2017); “Ask the Artist”, MANIFESTA 11 (Zurich, Switzerland, 2016); “Will I be happy?” (Inda Gallery, Budapest, 2016, solo); “Operantium”, Projektraum LS43, Berlin, 2016, solo); “Let them draw”, (Sariev Contemporary, Plovdiv, 2016); “Urbanauts”, Projektraum Viktor Bucher, Vienna (2015); “Past future-future past” (Transmediale, Supermarkt, Berlin, 2014); “The Movement of the Whole” (Inda Gallery, Budapest, 2014); “Unexpected Encountrers” (Camera Austria, Graz, 2013); “Material and Culture” (MAK Center for Art and Architecture, Los Angeles, 2012); 17th Biennale of Sydney (Museum of Contemporary Art, Sydney, 2010); Aichi Triennial, (Nagoya, 2010); “At Arm's Length”, MUMOK (Museum moderner Kunst Stiftung Ludwig, Vienna, 2008, solo); MANIFESTA 7, the European biennial of contemporary art (Trentino, 2008). He's been awarded, among others, with the following prizes: The Sovereign European Art Prize (2011), Otto Mauer Prize (2011), Alexander Resnikov Award (2010), Kunstpreis Europas Zukunft, (Galerie für Zeitgenoessische Kunst Leipzig, 2008) MUMOK Prize for the Zone1 at the VIENNAFAIR (2007), Prize for Visual Arts of the City of Vienna (2007) and with the MAK Schindler Artists and Architects-in-Residence Program in Los Angeles (2012). His works are part of public collections (Lentos, Austria; MAK MAK – Austrian Museum of Applied Arts; MUMOK, Austria; MUSA, Austria, Public Collection of the Austrian Government; Sofia City Art Gallery, Bulgaria) and private collections (ESSL MUSEUM, Austria; EVN Collection, Austria; DOM MUSSEUM, Austria). Kamen Stoyanov is represented by Sariev Contemporary since 2017.
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posted 10. Jan 2019

Larry Bell | Joe Goode | Ed Moses : Back to L.A.

30. Nov 201801. Feb 2019
opening: 29. Nov 2018 18:00
Larry Bell | Joe Goode | Ed Moses : Back to L.A. Vernissage: Thursday, November 29, 2018 | 6 - 8 p.m. Exhibition: November 30 - December 21, 2018 & January 9 - Friday 1, 2019 The gallery will be closed for winter holidays from December 22, 2018 through January 8, 2019. It all began in L.A. In the 1960s Los Angeles had one art museum and a handfull of galleries. Art collectors barely existed so it is a miracle that the Ferus Gallery opened, survived and became the successful cradle of avant garde art in Los Angeles. Today’s contemporary art on both coasts of the United States owes a lot to southern Californian artists who embraced the lifestyle and new materials made available through the aeronautical industry. Ed Moses (1926 – 2018) had his first exhibit at the Ferus Gallery in 1958 and was a member of the “Cool School” together with Craig Kaufman, Billy Al Bengston, Robert Irwin, Edward Kienholz, Ken Price, Ed Ruscha, Larry Bell, John Altoon und Wallace Berman. He was born and raised by the ocean and lived most of his life in L.A. Larry Bell (1939) was one of the youngest artists in the group and exhibited at Ferus in 1961. He is known as being part of the Light and Space movement. Until 2015 he had his studio in Venice Beach and now splits his time between there and New Mexico. Joe Goode (1937) hails from Oklahoma City and traveled to Los Angeles and has remained in California ever since. After his first solo show in San Francisco with Dilexi Gallery, Nicholas Wilder gave him his first solo show in Los Angeles. All three artists knew each other well as they all lived in close proximity to each other, followed each other’s progress and supported each other while watching the city and it’s suburbs grow in stature, culture and importance. These three friends’ styles cannot be pegged in one box but one thing is clear, they were pioneers. Ed Moses (y Branco) was full of ideas, curiosity and took constant risks. He worked daily, mostly painting, either inside or outside and his techniques were varied. In conjunction with his 2015 retrospective at the Los Angeles County Museum of Art he said: "I realize that for a professional artist, being emblematic or having a signature style is important. But I don't consider myself a professional artist. That's someone who is responsible to the fact that this is a business enterprise.... Someone who asks, 'What are my costs? What are my revenues? Who is my audience? Is this going to be acceptable to the audience?' I always had this dumb idea that you are the visionary for the audience. You open their possibilities. You certainly don't introduce your own thoughts, but you can introduce your discoveries." Three works on Mylar and one acrylic painting present Ed’s love of life and spontaneity. Larry Bell has been attracted by the medium of light on and through surfaces, respectively the perception of light. He developed a method of coating glass and other materials in a vacuum chamber where colors appear without the use of pigment. Paintings and collages in large and small formats are exhibited using this technique, a touch of pencil or gouache on the Fractions. A 1989 painting from the Waterfall series represents Joe Goode’s love of the outdoors. Images and representation of emotions have fascinated Goode whose themes range from the iconic milk bottle on the porch (first presented in the 1962 exhibition New Painting of Common Objects, curated by Walter Hopps at the Pasadena Art Museum (now Norton Simon Museum)) to fire, water, clouds, tornadoes. The artists are represented in museum collections world-wide, including Los Angeles’ County Museum of Art, Museum of Contemporary Art, Hammer Museum; San Francisco Museum of Modern Art, Whitney Museum of American Art, Museum of Modern Art, New York, Moderna Museet, Stockholm, Museum of Modern Art, Jerusalem, Museum Ludwig, Cologne, Victoria and Albert Museum, London, Stedelijk Museum, Amsterdam, etc.

artists & participants

Larry Bell,  Joe Goode,  Ed Moses 
Anne Mosseri-Marlio Galerie, Basel

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

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posted 09. Jan 2019

Moon Kyungwon and Jeon Joonho: News from Nowhere

23. Nov 201817. Mar 2019
Moon Kyungwon and Jeon Joonho: News from Nowhere 23.11.2018 - 17.03.2019 See Liverpool through the eyes of a man who has travelled through space and time to arrive in the city on the eve of the apocalypse South Korean artists Moon Kyungwon and Jeon Joonho’s new film commission Anomaly Strolls 2018 has been shot in-part in Liverpool. Extending their project News From Nowhere 2009, the artists use science fiction to question the role and importance of art to our present day society. As they have said: ‘Sci-fi is always the fable of the present. By employing a way to look at the future instead of the present, we wanted to address current issues, especially in relation to what art is and what art could be.’ Filmed in deserted alleyways and pubs across the city, Anomaly Strolls reflects on the experience of being human today. Related to the new commission, the exhibition also includes Moon and Jeon’s 2012 film El Fin del Mundo (The End of the World). On separate screens, we see different points in time: a man remains committed to creating art as a global catastrophe unfolds, while a woman goes about a sanitised life in its aftermath. Documenting relics of the past, she comes across a strange object the man had incorporated in his artwork. The encounter triggers profound new emotions in the woman, and her strange discovery connects our two protagonists across time. This is Moon Kyungwon and Jeon Joonho's first UK exhibition. Not to be missed. 


artists & participants

Jeon Joonho,  Moon Kyungwon 
Tate Liverpool °

TATE LIVERPOOL | Albert Dock Liverpool Waterfront
L3 4BB Liverpool

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posted 08. Jan 2019

Dineo Seshee Bopape. Lerole: footnotes

08. Nov 201819. Jan 2019
Dineo Seshee Bopape. Lerole: footnotes (The struggle of memory against forgetting) 08.11.2018 - 19.01.2019 South African artist Dineo Seshee Bopape explores in her work the socio-political and cultural aspects of individual and collective sovereignty. Her complex installations examine topics such as violence, oppression, exploitation and insecurity, through the lens of individual memories, historical narratives or personal stories. The variety of media she uses engulfs the viewer in a poetic, yet spiritual atmosphere, while raising hard questions on the events that have shaped her home country. After a presentation in our Beirut gallery last year the artist now presents for her first solo exhibition at Sfeir-Semler Gallery in Hamburg the multimedia installation Lerole - Footnotes (The struggle of memory against forgetting), created in 2017. Inspired by the literary work of James Baldwin, the installation is developed against the backdrop of pre-colonial Africa. A constellation constituted of ocher bricks, turntables, small ceramic objects, wooden panels, earth and gold leaves, stretches across the entire surface of the gallery. A multisensory experience, the installation includes sounds and smells that blur the boundaries between physical and immaterial elements. A hundred texts engraved on small wooden boards document the resistance of African populations against colonizers, and commemorate heroic acts of individuals and collectives, often forgotten by history, who fought against imperialism. The Quetzal, a strikingly colored South American bird that, according to a legend commits suicide in captivity, accompanies the viewer with his songs, symbolizing the will for freedom. The sound of water rushing from all oceans and seas surrounding the African continent situates the narrative geographically and metaphysically. Examined closely, the small ceramic objects show imprints of the inside of a fist: an important part of the Bopape’s artistic vocabulary, they are an attempt at grasping the invisible through mapping the void. They also highlight the role of clay and earth, as well as land and soil in conveying collective memory. While the installation focuses on African nation(s) as a collectivity Bopape's video piece Title not yet known at the time of publication (2018) uses the controversial case of then President Jacob Zuma who was accused by Khwezi (alias) with rape in 2005, as a collective anchoring point of the narrative. As opposed to the spiritual atmosphere of the installation, the sounds of birds and water within the video piece create a feeling of oppression from the very beginning of the work, while abstract images alternate with scenes played by two actors. At the core of Bopape’s work, both conceptually and formally, water, plants, minerals and other elements of nature are charged with temporal, cultural, political and economic significance. Soil, a fundamental component of life on earth, becomes part of a ‘shrine’ that evokes not only South Africa’s recent past, but also universal questions, central to the artist’s practice.
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posted 07. Jan 2019

Bae Bien-U – Cycle

24. Nov 201823. Feb 2019
opening: 24. Nov 2018 14:00
Bae Bien-U – Cycle 24.11.2018 - 23.02.2019 Opening 24.11.2018 14:00 - 19:00 Axel Vervoordt Gallery is eager to present Bae Bien-U's solo exhibition Cycle, as a continuation of the artist's previous exhibitions ConvexConcave (2011) and Counterbalance (2014). In Cycle, the Korean photographer offers a close view of different series, spanning from 1981 until 2018. During his travels to the Korean island of Jeju, Bae Bien-U captured the various elements of nature playing, such as wind, sea, and earth. The landscape of Jeju is marked by water and small volcanic mountains, called 'oreum' in Jeju dialect, that are covered with rich vegetation, grass and trees. It is the wind, called 'baram', that gives energy and motion to the otherwise static landscapes. Through his photographs entitled JEJU, SEA, BRM ('baram') and OM ('oreum'), Bae Bien-U aims to contemplate on the ever repeating dynamic of a natural phenomenon, such as the typhoon. As the artist explains himself, "it is the nature of Nature to flow back to its origin": Autumn in Jeju Island is typhoon season. I grew up on the island next to the sea. There was never anything more electric than the typhoon’s approach — an ominous, foreboding anticipation. And then, it’s arrival. Trees ripped apart. Roof tiles torn into the sky. Boats pushed up on the shore. At the typhoon’s peak, the mind is still. A state of numb paralysis. The wind blusters. Objects are sent in all directions. When a typhoon approaches, the sea falls silent. Rocks and trees around mountain streams begin to hold moisture in anticipation. Fierce waves crash against the shore. Water rises violently. The valleys are flooded like the base of a waterfall. Nevertheless, in merely a day or so, the sea is once again blessed with peace and sunlight. Lucid, crystal-clear water drizzle down the streams. My work contemplates the typhoon. The lens explores nature’s influence through the mountain streams when the first signs appear, and again next to the sea at the event’s peak to feel its tremendous energy. The meditation continues until silence regains. The typhoon’s rise and fall is an inspiration about nature’s cycles. In stillness and quietude, one experiences a sudden flash of enlightenment that the natural cycles are closer to the Mandala than the mundane world of humans. I hope my lens could hold the quietest, deepest layer of the current underneath. Below, the deep sea is still. Water flows down along the mountain and continues to sink into the sea. On the water’s surface above, the typhoon churns the ferocious waves into a frenzy.. (Bae Bien-U, 2018)

artist

Bae Bien-U 
Axel Vervoordt Gallery, Antwerp

Vlaeykensgang - Oude Koornmarkt 16
2000 Antwerp

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posted 06. Jan 2019

…for those who bear/bare witness… Ebony G. Patterson

15. Nov 201812. Jan 2019
…for those who bear/bare witness… Ebony G. Patterson 15.11.2018 - 12.01.2019 EXTENDED THRU JANUARY 12TH moniquemeloche is thrilled to present …for those who bear/bare witness…, Ebony G. Patterson’s fourth solo show at the gallery. Patterson’s multilayered practice – in sculpture, installation, performance, and video – uses beauty as a tool. She employs opulent, hand-embellished surfaces and brightly colored patterns to seduce the viewer into bearing witness to the violence and social injustices imposed upon the invisible and the voiceless. To this end, Patterson’s new body of large-scale tapestries and hand-cut paper works reflects her recent investigation of gardens: “For almost five years, I have been exploring the idea of gardens, both real and imagined, and their relationship to postcolonial spaces. I am interested in how gardens – natural but cultivated settings – operate with social demarcations. I investigate their relationship to beauty, dress, class, race, the body, land, and death. These new works create an immersive installation – a nocturnal garden that acknowledges bodies and sites, that uses pageantry and beauty to create presence in ‘gardens’ gone awry. We come to pause, to bear witness, and to acknowledge…” These new works – exquisitely and ornately embellished with myriad materials such as glitter, stickers, and varied textiles, among other things – is an unmistakable call to action and testimonial. The titular wordplay – …for those who bear/bare witness… – implicates not only the viewer, who must acknowledge the content of Patterson’s presentation, but also the anonymous victims memorialized by the works, whose bodies are disappeared, or laid bare. Indeed, Patterson has been slowly taking apart her figures, calling attention to their invisibility on the larger world’s stage precisely by disappearing them in her own works. The new works depict a jumbled jungle of lush flora and fauna, through whose coiled vines and fertile floral sprays ghostly corporeal forms are just barely visible. A closer look and limbless, headless torsos, cloaked in jewel-toned finery, become apparent. Confidently posed, they flaunt a melancholy greatness. Elsewhere, unattached limbs mingle with the verdant density, and animals such as owls, bears, or roosters keep watch. Presented on a newly artist-designed fabric wallpaper, which depicts an uneasily peaceful image of a garden at night, these works put forth an environment of uncanny, ominous beauty and decay. These are gardens where life and death co-mingle, where bodies are buried, historical traumas are revealed, and souls are set free. Ebony G. Patterson (b. 1981 in Kingston, Jamaica; lives and works in Kingston and Lexington, KY) received her BFA from Edna Manley College, Kingston, Jamaica (2004) and MFA from Sam Fox School of Design & Visual Arts, Washington University, St. Louis, MO (2006). Patterson has had solo exhibitions and projects at many US institutions including Pérez Art Museum Miami (through May 5, 2019); Baltimore Museum of Art, MD (through April 7, 2019); The Studio Museum in Harlem, NY (2016); Atlanta Center for Contemporary Art, GA (2016); and SCAD Museum of Art, Savannah, GA (2016). Dead Treez, Patterson’s first large-scale institutional solo show, originated at the Kohler Arts Center, Sheboygan, WI (2015) and traveled to Museum of Art and Design, NY (2015); Boston University Art Galleries, MA (2016); and UB Art Galleries, University at Buffalo, NY (2017). Her work was included in Open Spaces Kansas City (2018), the 32nd São Paulo Bienal: Live Uncertainty (2016); the 12th Havana Biennial: Between the Idea and the Experience, Cuba (2015); Prospect.3: Notes for Now, New Orleans (2014), and the Jamaica Biennial 2014, National Gallery of Jamaica, Kingston. She was an Artist-in-Residence at the Rauschenberg Foundation, Captiva Island, FL (2017) and served on the Artistic Director’s Council for Prospect.4, New Orleans (2017). Patterson has received numerous awards, including the Stone and DeGuire Art Award, Sam Fox School of Design & Visual Arts, Washington University, St. Louis (2018); United States Artist Award (2018); Tiffany Foundation Grant (2017); Joan Mitchell Foundation Art Grant (2015); and the Andy Warhol Foundation Grant, in conjunction with Small Axe Project (2012). Patterson’s work is included in a number of public collections, including The Studio Museum in Harlem, NY; Museum of Arts and Design, NY; Nasher Museum of Art, Duke University, Durham, NC; Speed Art Museum, Louisville, KY; 21c Museum Hotels; Pennsylvania Academy of Fine Arts, Philadelphia, PA; and the National Gallery of Jamaica, Kingston. Patterson is represented by Monique Meloche Gallery, Chicago.
moniquemeloche gallery Chicago

451 N Paulina Street
IL 60622 Chicago

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posted 05. Jan 2019

Emma Hart - BANGER

27. Oct 201803. Feb 2019
London based artist Emma Hart (b.1974, London) makes sculpture, photography, film and installation. Her work is often badly-behaved and messy, challenging assumptions and stereotypes in her quest to make art to which everyone can relate. We are delighted that Emma accepted our invitation to make this, her first exhibition in Scotland, and responded with a series of entirely new work, which we are showing alongside the major recent work Mamma Mia!, made as part of the Max Mara Art Prize for Women which she won in 2016. This exhibition highlights Hart’s work with ceramics, a material she turned to in order to find the ‘real' in art: ‘clay can be an exciting way to talk about chaos … what is immediately important is how personal it is. There’s a very raw direct relationship between the clay and my hands’. Mamma Mia! is an immersive, beguiling, engulfing installation. You look at it by walking through and around it, pushing your head up into a sequence of large ceramic heads/jugs/lamps which hang from the ceiling, projecting light in speech bubbles onto the floor. The work takes the family as a familiar context: the heads/jugs/lamps hang in family groups, disrupted by slowly moving fans whose blades are ceramic knives, forks and spoons. The newer works in the exhibition use the similarly common ground of the car and urban landscape to look at how we navigate the world and understand ourselves within it, with sculptures that place us and our families in relation to windscreens, road signs, car bonnets and steering wheels. Hart was awarded the biannual Max Mara Prize in 2016, and spent much of year working on a research residency in Italy, observing the work of family therapists at a renowned psychotherapy school in Milan, looking at the funerary sculpture of Rome, and studying with the master ceramicists in Faenza to learn the technical skills for the making of the traditional form of faience, which Faenza gives its name to. Hart is interested in the way ceramics traditionally manifest relationships – ‘if you were married here in the 16th century, you’d be given a plate’ – and she traces the connection between decorated crockery and her research into family therapy, in the observation of ‘human patterns’. New Book We are publishing a new book to accompany the exhibition. As well as looking back over the last several years of Hart’s career, it includes installation photography of the new work made for the exhibition, and new writing by Fruitmarket Director Fiona Bradley, curator and writer Helen Legg and artist and filmmaker Sarah Wood. We are particularly delighted that writer Ali Smith has written a new short story for the book, inspired by visits to Emma Hart’s studio during the making of BANGER.

artist

Emma Hart 
Fruitmarket Gallery, Edinburgh °

FRUITMARKET GALLERY | 45 Market Street
EH1 1DF Edinburgh

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posted 04. Jan 2019

Tesfaye Urgessa. Beyond

18. Dec 201803. Feb 2019
Pitti Palace Tesfaye Urgessa. Beyond 18.12.2018 - 03.02.2019 The rooms of the Andito degli Angiolini in Pitti Palace host the exhibition on Tesfaye Urgessa from 18 December 2018 to 3 February 2019. The thirty-five pieces on show in the rooms of the Andito degli Angiolini in Pitti Palace reflect the explosive creativity of Tesfaye Urgessa, born in Addis Ababa in 1983 and moved to Stuttgart in 2009, where he lives and works. The selection includes mainly works from the last two years, with just a few important exceptions. Thus, if Trapped in the Flesh - painted on the occasion of the Florentine exhibition - has been chosen as the opening focus, the arrangement is in chronological order and starts with Waiting from 2010. The exhibition also includes a drawing and four monotypes to exemplify Urgessa's familiarity with the techniques and materials, as well as a Self-Portrait donated to the Uffizi Galleries and displayed in a symbolic pairing with a hypnotic Portrait of a Man: not a self-portrait painted using a mirror or a photograph, but a portrait from memory, also passed through the powerful filter of the artist’s imagination. . The exhibition is curated by Eike Schmidt and Chiara Toti.
Uffizi Galleries, Florence

Piazzale degli Uffizi, 6
FI 50122 Florence

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posted 03. Jan 2019

LICHTEMPFINDLICH. Fotografie aus der Sammlung Schaufler

15. Apr 201806. Jan 2020
LICHTEMPFINDLICH. Fotografie aus der Sammlung Schaufler 15.04.2018 - 06.01.2020 Künstler: AES + F, Nobuyoshi Araki, Thomas Demand, Götz Diergarten, Elger Esser, Günther Förg, Andreas Gursky, Klaus Heider, Candida Höfer, Sherrie Levine, Peter Lindbergh, Robert Mapplethorpe, Hans Op de Beeck, Thomas Ruff, Hans-Christian Schink, Thomas Struth, Wolfgang Tillmans, Wim Wenders u.a. Kuratoren: Barbara Bergmann und Svenja Frank Das SCHAUWERK Sindelfingen zeigt ab April 2018 zeitgenössische Fotografie aus der Sammlung Schaufler und knüpft damit an den ersten Teil der Ausstellung LICHTEMPFINDLICH von 2011 an, die den großen Sammlungsbestand dieses Mediums erstmals dem Publikum im eindrucksvollen Raum des ehemaligen Hochregallagers im SCHAUWERK vorstellte. Das Hochregallager beeindruckt durch seine umlaufende Rampe, die sich über fünfzehn Meter Höhe erstreckt: ein Ausstellungsort par excellence für die Fotografie mit spannenden Sichtachsen über Nah- und Fernsicht. LICHTEMPFINDLICH 2 zeigt neben Hauptwerken aus dem ersten Ausstellungsteil auch bislang nie gezeigte Werke, so dass ein umfangreicher Überblick der zeitgenössischen Fotografiesammlung entsteht. Das Hauptinteresse der Sammler Peter Schaufler und Christiane Schaufler-Münch gilt nicht dem Medium als solches und seiner Geschichte, sondern vielmehr geht es um die Faszination, die von bestimmten Motiven, Bilderfindungen und deren formaler Umsetzung ausgeht. Die klassischen Genres der Fotografie – Akt, Portrait, Landschaft, Architektur oder Industrie – spiegeln sich in den Arbeiten wider, sind aber oftmals Zitate oder Stadien eines konzeptuellen Prozesses. Die meisten Protagonisten innerhalb der Sammlung haben den konventionellen Rahmen der Fotografie hinter sich gelassen.
SCHAUWERK Sindelfingen °

SCHAUWERK SINDELFINGEN | Eschenbrünnlestraße 15/1
71065 Sindelfingen

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posted 02. Jan 2019

MARGUERITE HUMEAU: BIRTH CANAL

09. Apr 201801. Jun 2019
MARGUERITE HUMEAU: BIRTH CANAL 09.04.2018 - 01.06.2019 The New Museum presents the first US solo museum exhibition by Marguerite Humeau (b. 1986, Cholet, France), debuting a new installation of sculpture and sound. “Birth Canal,” the first US solo museum exhibition by Marguerite Humeau (b. 1986, Cholet, France), debuts a new body of sculpture within an installation of light, sound, and scent. Humeau’s work centers on the origins of humankind and related histories of language, love, spirituality, and war. She prefaces each project with a period of intense investigation in which she engages diverse authorities on her chosen subject, including historians, anthropologists, paleontologists, zoologists, explorers, linguists, and engineers. Through her interdisciplinary, speculative inquiry, Humeau enriches her own thinking as an artist and researcher, and refashions historical quests in ways that reflect the technological age in which we live. For “Birth Canal,” Humeau studies the origins of Venus figurines, prehistoric female goddess statuettes found throughout the world. Her research expands on the idea that early modern humans may have ingested animal brains for their psychoactive effects: in this theory, Venus figurines functioned as recipes, marking out an anatomical guide for shamans and those seeking spiritual ecstasy through altered consciousness. In her installation, Humeau envisions a scene from 150,000 years ago, when Mitochondrial Eve, the most recent matrilineal ancestor common to all humans, is estimated to have lived. Ten digitally rendered sculptures, meticulously realized in cast bronze or carved stone, beckon the viewer into a dark space that smells faintly sweet and mineral-like, its odor inspired by bodily liquids associated with birth. Formally ambiguous, the sculptures resemble both brains and Venus figures, and represent shamanic women of different ages. Seen and heard in an ominous state of polyphonic trance—part convocation, part choral lament—they prophesy the future extinction of their offspring, humankind. With allusions to animism, totemism, and spiritual travel, Humeau’s installation creates a forum for these imagined voices and premonitions, underscoring the brevity of human existence relative to cosmic and geologic time. Following its debut at the New Museum, Humeau’s exhibition will travel to Kunstverein Hamburg in February 2019, and Museion, Bolzano in September 2019. The exhibition is curated by Natalie Bell, Associate Curator. Marguerite Humeau (b. 1986, Cholet, France) lives and works in London. Recent solo exhibitions include Tate Britain (2017); Museum Haus Konstruktiv, Zurich (2017); Schinkel Pavillon, Berlin (2017); Les Abattoirs Musée FRAC Occitanie, Toulouse (2017); Nottingham Contemporary, Nottingham, UK (2016); and Palais de Tokyo, Paris (2016). Her work has been included in group exhibitions at the Hayward Gallery, London (2018); Haus der Kunst, Munich (2018); High Line, New York (2017); Kunsthal Charlottenborg, Copenhagen (2017); Manifesta 11, Zurich (2016), Thyssen-Bornemisza Art Contemporary, Vienna (2015); the Museum of Modern Art, New York (2014); and elsewhere. Humeau received the Zurich Art Prize in 2017 and the Battaglia Foundry Sculpture Prize in 2018.

curator

Natalie Bell 
New Museum, New York

235 Bowery
NY-10002 New York

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posted 01. Jan 2019

WELTEMPFÄNGER. GEORGIANA HOUGHTON, HILMA AF KLINT, EMMA KUNZ

06. Nov 201810. Mar 2019
WELTEMPFÄNGER. GEORGIANA HOUGHTON, HILMA AF KLINT, EMMA KUNZ MIT FILMEN VON JAMES UND JOHN WHITNEY UND HARRY SMITH 06.11.2018 - 10.03.2019 Die Ausstellung Weltempfänger. Georgiana Houghton – Hilma af Klint – Emma Kunz gibt Einblick in eine außergewöhnliche und weitgehend unbekannte Episode der Moderne: Völlig unabhängig voneinander entwickelten Georgiana Houghton (1814–1884) in England, Hilma af Klint (1862–1944) in Schweden und Emma Kunz (1892–1963) in der Schweiz eine jeweils eigene abstrakte, mit Bedeutung hochaufgeladene Bildsprache. Mit großer Ausdauer und Durchsetzungsvermögen folgten sie ihren Überzeugungen; gemeinsam war ihnen der Wunsch, Naturgesetze, Geistiges und Übersinnliches sichtbar zu machen. Zum ersten Mal werden wir ihre äußerst selten gezeigten Werke gemeinsam im Kunstbau des Lenbachhauses präsentieren. Ergänzend werden in der Ausstellung kaum bekannte Filme von den Brüdern James und John Whitney und Harry Smith vorgestellt. Die US-Amerikaner drehten – von verschiedenen okkulten und esoterischen Bewegungen inspiriert – ab den 1940er Jahren abstrakte Experimentalfilme. Sie sind Zeugnisse einer ähnlichen Herangehensweise, die ebenso zu einer neuartigen Bildsprache führte, wenn auch in einem anderen Medium. Kuratiert von Karin Althaus und Sebastian Schneider In Zusammenarbeit mit Victorian Spiritualists' Union, Melbourne The Hilma af Klint Foundation, Stockholm Emma Kunz Zentrum, Würenlos
Lenbachhaus, München °

Luisenstraße 33
80333 Munich

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