daily recommended exhibitions

posted 18. Jul 2019

Sidsel Meineche Hansen - An Artist’s Guide to Stop Being an Artist

28. Feb 201928. Jul 2019
Sidsel Meineche Hansen - An Artist’s Guide to Stop Being an Artist February 28–July 28, 2019 Sidsel Meineche Hansen’s practice focuses on the industrial complex that connects virtual and robotic bodies with human labour in the pharmaceutical, pornographic, and tech industries. An Artist Guide to Stop Being an Artist continues this line of enquiry, with particular focus on the external and internal mechanisms that control the production and reproduction of artistic labour. The exhibition at the National Gallery of Denmark (SMK) is centred on the installation Difficult to work with?, 2019, which include the sculptural work Untitled, 2018, in combination with a new locking system for the gallery space. Untitled is a life-sized ball-jointed figure, with orifices that are compatible with oral and vaginal inserts made in silicone, which are sold for current sex dolls on the market. For the exhibition at SMK, the sculpture’s immobile mechanical body is combined with a video based mobile app visible on a mobile phone in the sculpture’s hand and on a screen on the wall above the figure. The app features an animated avatar that functions as the sculpture’s mouth piece. In the video animation, the head of the wooden sculpture is superimposed with a recording of the artist’s eyes and mouth, delivering a monologue entitled An Artist Guide to Stop Being an Artist, 2019. The script, which appropriates Alan Carr’s self-help guide Easy Way to Stop Smoking, instead discusses the artist’s dilemma of wanting to make art while wanting to quit it as a profession. The x-room is SMK’s platform for contemporary art where international artists are invited to show new works created especially for this space. This exhibition is co-produced with Kunsthal Aarhus and KW Institute for Contemporary Art, Berlin. Thank you to the Obel Family Foundation for generous support to the x-room.
SMK Statens Museum for Kunst / National Gallery of Denmark, Copenhagen

DK-1307 Copenhagen

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posted 17. Jul 2019

Julie Becker: I must create a Master Piece to pay the Rent

09. Jun 201902. Sep 2019
Julie Becker: I must create a Master Piece to pay the Rent 09.06.2019 - 02.09.2019 I must create a Master Piece to pay the Rent is the first museum survey exhibition devoted to the work of Julie Becker (American, 1972–2016), on view at MoMA PS1 from June 9 through September 2, 2019. Inspired by the psychological, cinematic, and physical geographies of her hometown of Los Angeles, Becker produced a rarely-seen body of installations, sculptures, drawings, photographs, and videos immersed in the human psyche’s formulation of truth, fiction, and myth. First presented at the Institute of Contemporary Arts, London in 2018, the exhibition features an expanded presentation of Becker’s work, including the artist’s formative installation Researchers, Residents, A Place to Rest (1993-1996), a large architectural complex created while she was a student at Cal Arts. This major piece is joined by more than 60 photographs, works on paper, video installations, and sculptures. The exhibition also features the largest group of works to be shown together from Whole (1999–), a multimedia project that was still ongoing at the time of the artist’s death. These works center on a run-down home in the Echo Park neighborhood of East Los Angeles that the California Federal Bank let the artist rent cheaply on the condition that she remove the belongings of the former tenant, who had passed away from AIDS-related complications.


Julie Becker 
MoMA PS1, Long Island City

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

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posted 16. Jul 2019

Anton Vidokle - Immortality for All

27. Apr 201921. Jul 2019
Anton Vidokle - Immortality for All April 27–July 21, 2019 Talk with Soo-Hwan Kim and Anton Vidokle: June 27, 3–5pm The National Museum of Modern and Contemporary Art, Korea (MMCA, Director Youn Bummo) presents Anton Vidokle: Immortality for All from April 27 to July 21 at MMCA Seoul, Gallery 6. This is the first solo museum exhibition of the artist in Korea. The exhibition introduces Vidokle’s film trilogy on the philosophy of Russian Cosmism, which was researched and produced over a five year period starting in 2013, as well as a detailed timeline of this unusual philosophical movement, and a small reading room of cosmist literature. Russian Cosmism is a school of thought developed in the late 19th century by the Russian librarian Nikolai Fedorov (1828–1903). His philosophical successors included numerous illustrious artists, writers, philosophers, scientists, and revolutionaries, such as Fyodor Dostoyevsky, Lev Tolstoy, Kasimir Malevich, Konstantin Tsiolkovsky, and Leon Trotsky, among many others. With an awareness of the inseparability between the cosmos and humankind, cosmism urges us to explore space travel and stride forth to inhabit the universe, while developing various forms of technology to gain material immortality and resurrect all of our ancestors, starting with the first people on Earth. While this philosophy was extremely influential in the early years following the Communist Revolution, it was banned in the 1930s and nearly completely forgotten, only to resume in the 1990s, following the dissolution of the Soviet Union. Russian Cosmism continues to be actively discussed today as a philosophical alternative to capitalism and neo-liberalism, Western rationalism and individualism. This Is Cosmos (2014), the first film in Vidokle’s trilogy, introduces key concepts in cosmist thought. The second film, The Communist Revolution Was Caused By The Sun (2015), presents the solar cosmology of Alexander Chizhevsky (1897–1964), who theorized how the periodical changes in the life of the sun impact human social life and history. The last film, Immortality and Resurrection For All! (2017), is based on a key essay by Nikolai Fedorov, “The Museum, its Meaning and Mission”—a meditation on the institution of the museum as a site of resurrection, an idea central to cosmist theories. The backdrop to Vidokle’s work might be current private, public, and scientific efforts aimed at realizing cosmist-like ideas about colonizing Mars, resurrecting dead or extinct organisms, reversing aging, transfusing blood, and engineering the climate. The interest of Vidokle’s trilogy is, however, not a journalistic story about applied cosmism in the 21st century. Instead, Vidokle seeks to reignite the speculative and experimental undercurrents in cosmist undertakings and thoughts, which are still at odds with the world and continue to expand and trouble our imagination and worldviews. While the films, shot on various locations in Russia and the former Soviet Union, make use of certain codes dear to documentary filmmaking, the films do not so much document cosmism and its repercussions on site. Rather, they try to evoke it. All three films do not simply recite and reflect on cosmist thinkers. They also invite people—those who appear in the films as well as those who watch them—to expose themselves to various experiments. The first film, This Is Cosmos, presents itself as “an irradiation session” with “therapeutic effects.” The second film, The Communist Revolution Was Caused By The Sun, includes both a clinical hypnosis script used to quit addictions and a restaging of scientist Chizhevsky’s experiment in the effects of negatively and positively charged air on biological organisms. The third film, Immortality and Resurrection for All!, toys with experimental therapy involving a special flicker effect used to treat deterioration of memory. Inside the venue, a chronological timeline of Russian Cosmism is outlined to help the audience better understand the development of the theories. On June 27, Anton Vidokle will be visiting the MMCA for a public talk with Soo-Hwan Kim, professor of Russian language and literature at Hankuk University of Foreign Studies. Youn Bummo, director of the MMCA, notes, “This exhibition highlighting the experimental works of Anton Vidokle and related archives on the early 20th century Russian philosophy, literature, and cosmology will be a great opportunity to encounter the latest discourses on contemporary art.” Anton Vidokle (1965, Moscow) lives and works in New York and Berlin. He is the founder of the publishing platform e-flux, which has sparked projects such as e-flux video rental, e-flux journal, and an exhibition space in New York. Films from “Immortality For All: a film trilogy on Russian Cosmism” have been shown at numerous museums, such as Centre Pompidou (2016) and Tate Modern (2017), and various festivals and biennials, including Shanghai Biennale (2014), 65th Berlinale International Film Festival (2015), and the 7th Gwangju Biennale (2016). The second film of the trilogy, The Communist Revolution Was Caused By The Sun (2015), was awarded the Noon Award at the 2016 Gwangju Biennale for its aesthetics, sound, and artistic spirit of experimentation in exploring Russian Cosmism. The MMCA has acquired the full trilogy and will present the films together in one exhibition.


Anton Vidokle 
MMCA National Museum of Modern and Contemporary Art, Korea

National Museum of Modern and Contemporary Art, Korea | 30 Samcheong-ro, Sogyeok-dong, Jongno-gu
03062 Seoul

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posted 15. Jul 2019

Dan Graham

07. Jun 201927. Jul 2019
Dan Graham 26.04.2019 - 15.06.2019, verlängert bis 27.07.2019 Designer Phoebe Philo had worked with the artist Dan Graham to create the glass S-shaped pavilion in which to show the Céline Spring/Summer 2017 collection. “I wanted to see it cast through the kaleidoscope of Dan’s installation. The fact that people can see themselves and the clothes makes for more complex reflections.” 1) Peter Eleey, who was organizing Graham’s Walker Art Center show in 2009, has noted a pretty consistent binary quality that runs through Dan Graham’s otherwise incredibly diverse body of work: „It’s in the low/high, inside/outside take on the ways in which Graham views culture, and in the ways viewers see Graham’s work (and often in how the work itself is configured); in the artist’s ideas about both the production and the consumption of culture; and in the various combinations of transparency and reflection that form the crux of many of his projects.“ 2) Graham is one of those who wrote the story of contemporary art in the second half of the 20th century; his multifarious practice — encompassing theoretical writing, text pieces, performances, video works, installations, and architectural interventions — has shaped generations of artists. In 1966 Graham published in Arts Magazine Homes for America, a mock scientific analysis of the suburban habitat that initiated what would become a relentless tackling of the city plan and the politics of the gaze — topics that lie at the core of his world-famous pavilions. „I thought it was about the white cube, so the idea was: what would happen if I cut away from that white wall and made a window? Then it would be architecture. I thought: why can't artists do architectural models? There were two categories of models. One category were almost fantasy situations like Alteration to a Suburban House (1978), Video Projection Outside of Home (1978), or the Clinic for a Suburban Site (1980), which, in a way, were making the primary Venice Biennale piece Public Space/Two Audiences (1976) into almost architecture. The other group were new works that were both sculpture and pavilion. I was interested in the (Mies van der Rohe) Barcelona Pavilion (1929), but also I was interested in pavilions in city situations, in other words telephone booths and bus shelters. What I liked about the pavilion was that it was somewhere between function and possibly architecture art. What I'm trying to do is deconstruct the corporate two-way mirror — which is the one-way mirror — into something more like a pleasure situation, a kind of heterotopia. As you walk around the piece, the sky changes, and your body changes and you can see the body changing, and other people's bodies changing. So the time element, the durational element, in relation to sky conditions is very important. In America, the ecology movement began with Jimmy Carter. Two-way mirror glass came in. Corporations wanted to cut down air conditioning costs, so with two-way mirror glass, the side that reflects the sun means that the inside doesn't have to be cooled by air conditioning. Also it became the beginning of surveillance, because in the inside you could look outside without being seen on the outside. And the outside skin, which was mirror, reflected the sky so the corporation seemed to be identifying with the environment. And that was all because Jimmy Carter wanted to cut down oil consumption“.3) In 2004 TRANS> (Sandra Antelo-Suarez) with co-producers Thyssen-Bornemisza Art Contemporary Vienna, Foundation 20 21 New York, Walker Art Center Minneapolis and Voom/LAB New York commissioned and produced a rock opera performed by puppets Don’t Trust Anyone Over 30. A 35-minute Video is on show in the mezzanine space of the gallery. Since collaboration was at the heart of Don’t Trust Anyone Over 30, Dan Graham (Concept) collaborated with Tony Oursler (Visual Conception) and Rodney Graham (Recorded Music) and participated in a discussion with several other artists who worked on the piece, like including Phillip Huber (Marionettes), who created its puppets, and members of the punk duo Japanther (Live Band). 1) Financial Times, Oct 2 2016 2) Walker Art Center, Reader by Julie Caniglia, Oct 2009 3) Interview by Coline Milliard, I Don’t Do Pavilions, Artinfo UK, March 2012


Dan Graham 
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posted 14. Jul 2019


05. Jun 202013. Sep 2020
SONSBEEK 20 12th edition 05.06.2020 - 13.09.2020 Bonaventure Soh Bejeng Ndikung appointed artistic director of ‘sonsbeek 2020’ Bonaventure Soh Bejeng Ndikung (1977, Yaoundé, Cameroon) has been appointed artistic director of sonsbeek 2020. The 12th edition will take place in and around Arnhem from 5th June to 13th September 2020. Ndikung was appointed by unanimous recommendation of an international selection committee. He is a curator, art critic, author and biotechnologist, as well as the founder and artistic director of SAVVY Contemporary, Berlin. He was also curator-at-large of documenta 14. Charles Esche, member of the board and international selection committee: “The selection committee was very impressed with Bonaventure Soh Bejeng Ndikung’s proposal for sonsbeek 2020. Ndikung is already known for his innovative, conceptually strong and convincing curatorial practice. He has a proven track record of exhibition making with SAVVY Contemporary, as well as his crucial contribution to the recent documenta 14 in Kassel and Athens. Ndikung often takes a surprising approach to curating, incorporating sound, performative and discursive frames into his projects. What makes his work special, is that he does not approach an exhibition scientifically, but much more as poetry and rhyme. He compares his working method as a curator to a musical jam session. Thus his interest in the sonic as memory, knowledge, a story – both about the past and the present. He wants to make the exhibition experience tangible through space, rhythm, movement and words: a visit as choreography. The board looks forward to what promises to be an exciting sonsbeek 2020 that does justice to the rich and significant history of the exhibition.” About sonsbeek The sonsbeek exhibition was initiated in an effort to help Arnhem recover from the heavy damages the city suffered during the Second World War (The Battle of Arnhem). In 1948 the Arnhem alderman H.M.A Klompé was inspired by the open-air exhibition in Battersea Park, London, which led to the founding of sonsbeek exhibition. sonsbeek '49 combined art and the lush nature of Sonsbeek park, and by doing so served as a mental salve for the traumatised inhabitants. sonsbeek '49 exceeded all expectations: 125,000 people visited the park and a triennale was started. Since this first edition in 1949, sonsbeek has contributed to and redefined international contemporary art. As one of the early international art projects after Venice Biennale (1895), Whitney Biennial (1932), and preceding documenta (1955), sonsbeek has always been a pathbreaking exhibition for arts in public spaces. sonsbeek 2020 follows the legacy of iconic editions between 1949 and 2016, curated by the likes of Wim Beeren (1971), Saskia Bos (1986), Valery Smith (1993), Jan Hoet (2001), Anna Tilroe (2008) and ruangrupa (2016). Since 2016, sonsbeek has become a quadrennial exhibition. About Bonaventure Soh Bejeng Ndikung Bonaventure Soh Bejeng Ndikung, PhD, is an independent curator, art critic, author and biotechnologist. He is the founder and artistic director of SAVVY Contemporary Berlin. He was curator-at-large for documenta 14 in Athens and Kassel, and guest curator of the 2018 Dak'Art Biennale in Senegal. Together with the Miracle Workers Collective, Ndikung will curate the Finland Pavilion at the Venice Biennale in 2019. He is currently guest professor for curatorial studies and sound art at the Städelschule in Frankfurt. Some recent selected curatorial projects include: Geographies of Imagination: Dis-Othering as A Method, SAVVY Contemporary, 2018; Whose Land have I Lit on Now? Contemplations on the Notions of Hostipitality, SAVVY Contemporary, 2018; The Conundrum of Imagination, Leopold Museum Vienna/ Wienerfestwochen, 2017; Every Time A Ear di Soun - a documenta 14 Radio Program, 2017; An Age of our Own Making in Holbæk, MCA Roskilde and Kunsthal Charlottenborg Copenhagen, 2016-17; Giving Contours To Shadows in Marrakesh, Berlin, Nairobi, Dakar and Johannesburg, 2014.

Stichting Sonsbeek Internationaal, Bovenbeekstraat 21
6811 CV Arnhem

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posted 13. Jul 2019

Marsha Cottrell, Lothar Götz, Jörn Stoya

04. Jul 201920. Jul 2019
Marsha Cottrell, Lothar Götz, Jörn Stoya 04.07.2019 - 20.07.2019 Sommerrundgang der Galerien in Flingern Donnerstag 4. Juli, 18 bis 21 Uhr

artists & participants

Marsha Cottrell,  Lothar Götz,  Jörn Stoya 
Petra Rinck Galerie, Düsseldorf

PETRA RINCK GALERIE | Birkenstrasse 45
40233 Dusseldorf

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posted 11. Jul 2019

Olafur Eliasson. In real life

11. Jul 201905. Jan 2020
Olafur Eliasson. In real life 11.07.2019 - 05.01.2020 Experience over 30 of Eliasson’s spectacular works Olafur Eliasson returns to Tate Modern for a major survey of his career so far. Most of the works have never been seen in the UK before. In Eliasson’s captivating installations you become aware of your senses, people around you, and the world beyond. He creates a rainbow from a punctured hosepipe and covers a vast wall with Icelandic moss. You can walk through a disorienting tunnel of fog or a kaleidoscope of mirrors. You can cast coloured shadows on the walls. Within the exhibition will be an area which explores Eliasson’s deep engagement with social and environmental issues. And once a week you’ll be able to communicate with Eliasson’s 100-strong team in his Berlin studio via a live link. The exhibition will continue with a spectacular installation in the landscape around Tate Modern. Eliasson will also be taking over the Terrace Bar, creating a new version of the innovative vegetarian canteen from his studio. Eliasson has a long relationship with Tate Modern. His glowing sun, The Weather Project, drew hundreds of thousands of people to the Turbine Hall in 2003. More recently Ice Watch 2018 brought chunks of ice from Greenland to London. This exhibition will be another unforgettable experience.​
Tate Modern, London

TATE MODERN | Bankside
SE1 9TG London

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posted 10. Jul 2019

Anna Uddenberg - POWER PLAY

05. Apr 201922. Sep 2019
POWER PLAY Anna Uddenberg April 5–September 22, 2019 In her work, Anna Uddenberg explores social conventions and norms that are the products of consumer culture. She challenges ingrained ways of thinking and seeing as well as ideas of mental and physical mobility. Through the lens of the feedback loop that is social media, the artist analyses systems of representation, the performativity of femme expressions and its cross-connection to consumer culture and gender studies. The artist’s interest in femme as figuration is geared towards exploring power dynamics in the service domain, and towards disputing the idea of femininity as “being eager to please,” as “active listener,” as “flexible/adaptive/user-friendly” to reveal what happens when these roles are amplified and over-performed to a degree of uncanny absurdity. By elaborating, displacing and saturating textures, tropes and elements that are meant to be cosy or comfortable, the artist flips the script of conventional readings of femininity to argue that these codes serve someone else’s pleasure and that femininity is connected to exploitation.With their ecstatically arched bodies, the figures present a near-acrobatic three-dimensional still life and a complex dynamic narrative that question our ideals of perfection. This elaborate approach is also translated in Uddenberg’s furniture-esque pieces. At first glance, they seem functional and suggestive of comfort, luxury and security, but they reveal a cryptic extraction of figuration and carry on the gender-specific theme at the heart of the artist’s practice. Seen together in the specially designed exhibition space, the figures engage in a compelling Power Play. Uddenberg’s exaggeration of the figure as well as her method of deconstructing and (re)constructing it as a collaged synthesis of objets trouvés and handmade objects hold up a mirror to modern society. Her visually disturbing and often surprising works invite us to question the values of our contemporary societies. "Between fetish and sculpture every work by Anna Uddenberg attaches itself to our current understanding of power, exploitation and self-representation." Rein Wolfs, Director of the Bundeskunsthalle Anna Uddenberg attended the Städel School in Frankfurt before continuing her studies at the Royal Institute of Art in Stockholm, where she graduated in 2011. Since then, she has had several solo exhibitions and participated in numerous important exhibitions, among them the 9th Berlin Biennale, Manifesta 11 in Zurich and at the Stedelijk Museum in Amsterdam. Curator: Susanne Kleine Director: Rein Wolfs Managing Director: Patrick Schmeing


Susanne Kleine 

Friedrich-Ebert-Allee 4
53113 Bonn

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posted 09. Jul 2019

Connected. Peter Kogler with ...

28. Jun 201920. Oct 2019
opening: 27. Jun 2019 07:00 pm
Connected. Peter Kogler with ... George Antheil with Friedrich Kiesler with Hedy Lamarr with Fernand Léger with Charlotte Perriand with Franz Pomassl with Winfried Ritsch with Franz West Eröffnung: 27.06.2019, 19 Uhr 28.06.–20.10.2019 Die Ausstellung bringt Werke des Aufbruchs des Jahrhunderts mit zeitgenössischen Arbeiten zusammen. Peter Kogler, vielen bekannt durch die grafische Deckengestaltung des Grazer Hauptbahnhofs, entwickelt gemeinsam mit Franz Pomassl eigens für das Kunsthaus Graz eine neue, raumgreifende Arbeit. Die Besucher/innen finden sich wieder in einem reproduzierbaren, programmierten und geheimnisvoll verbundenen Architektur- und Medienraum. Parallel dazu werden Grafiken und Malereien von Fernand Léger, Möbel von Charlotte Perriand, Archivmaterialien von Hedy Lamarr, Gemeinschaftsarbeiten von Kogler mit Franz West und Bühnenmodelle von Franz Kiesler gezeigt. Neben der neuen Arbeit Koglers steht im Zentrum der Ausstellung die Reflexion des wegweisenden und revolutionären Ballet Mécanique: Dieses bis heute nachhallende Werk aus den 1920er-Jahren war eine Kooperation zwischen den Künstlern Fernand Léger als Bildkompositeur, Dudley Murphy als Kameramann und George Antheil als Komponist. Es gilt als die erste surrealistisch-dadaistisch geplante Filmmontage in Verbindung mit mechanisierter Musik. Winfried Ritsch interpretiert die Musik zum Film neu und inszeniert ein Maschinenorchester, ganz im Sinne des Urhebers George Antheil. Die Personale entstand in enger Zusammenarbeit mit Peter Kogler und gibt tiefe Einblicke in seine künstlerische Ideenwelt, die aus einem verzweigten Netzwerk schöpft.
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posted 08. Jul 2019


11. May 201912. Jul 2019
VAN HORN PRESENTS KOEN DELAERE. BODY/HEAD 11.05.2019 - 12.07.2019 OPENING FRI. 1O MAY 19:OO Body in the head. Head in the body. Looking out and then looking in. Two games simultaneously. We are delighted to present Koen Delaere's second solo-show at the gallery. Under the title Body/Head Koen Delaere shows a new group of works involving the notion of corporeality as a vantage point for a visual language of physical experience. Painting as an absent present body and the use of paint and material as traces of action within the painterly work. Delaere, known for his highly structured and rhythmic paintings, taking sensation from experiences outside of his studio, such as the deserts in Nevada or live concerts by bands like Oneothrix Point Never and Cocaine Piss, focuses in his current works on his own inner perspective and forms of knowledge coming from the body that inscribe in painting. The works on display express a multitude of different actions in and out of sync. Generous color gradients, fluid squeegee movements and forceful traces of materiality that leave marks and fingerprints on the canvas and tell of delicacy, strength and the play on dual forces. Next to the endeavor to get to the track of knowledge behind thinking and to pursue the wilfulness of movement, Delaere surveys the state of physical and spatial limitation as a potential for one’s own painting practice. "I’m interested in the the physical handling of the idea, the execution as a bodily experience, to cut through the ego. To work it, get your hands dirty, make failures, transform these failures in something which has a potential. These practical concerns relate to the realness. Working with this real body and real tools, applying real material on a real support and having it in real space. .... using my hands, my body, my Body-memory, moving around in the studio, moving around the canvas (doing the studio-dance). Meaning is revealed in practical concerns and the consequences in choices. Recording physicality. Going beyond thinking, anti-design, a structure against which to work. Outside/Inside, Body/Head, two games simultaneously. Collapse these games together. But fuck you fear. There is still room for painting." The more we understand our bodies, the more we understand the universe and vice versa. […] The physical world seems only a membrane between humans and the speed and hum of information.* *Lidia Yuknavitch: The book of Joan, Edinburgh 2018 The text is based on the words of the artist. joint opening of the galleries in Flingern Kadel Willborn I Konrad Fischer I Rupert Pfab I Petra Rinck I VAN HORN


Koen Delaere 
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posted 07. Jul 2019

Paul Klee and Anni Albers

23. Mar 201904. Aug 2019
Paul Klee and Anni Albers 23.03.2019 - 04.08.2019 Under the tutelage of Bauhaus master Paul Klee, Anni Albers elevated the ancient art of weaving into a bold and vibrant Modernist art form. Explore linear and geometric constructions by both artists across a range of media — including weaving, painting, and drawing — in which line and the pliable plane are paramount.

artists & participants

Anni Albers,  Paul Klee 
SFMOMA San Francisco Museum of Modern Art

SFMOMA | 151 Third Street
CA-94103-3159 San Francisco

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posted 06. Jul 2019

Turner. Das Meer und die Alpen

06. Jul 201913. Oct 2019
opening: 05. Jul 2019 06:30 pm
Turner. Das Meer und die Alpen 06.07.2019 - 13.10.2019 Vernissage: Freitag, 05.07.2019 18:30 Uhr kuratiert von Fanni Fetzer und Beat Wismer Der weltberühmte britische Maler J.M.W. Turner bereist die Schweiz auf der Suche nach spektakulären Motiven mehrfach. Dabei besucht er auch immer wieder Luzern, um vor Ort das einmalige Zusammenspiel von Licht und Wetter, See und Bergen zu studieren. Seine Eindrücke hält er in Skizzen und leuchtenden Aquarellen fest. Die Beobachtung und Darstellung sowohl des Meeres bei der Überreise als auch der Alpen sind für Turner von zentraler Bedeutung: Hier kumulieren Schönheit und Bedrohlichkeit der Natur direkt zum Sujet des Erhabenen, das für die Romantik zentral ist. Turners Begeisterung für die Schweiz ist so gross, dass er sie zwischen 1802 und 1844 insgesamt sechsmal besucht. Mit Turner. Das Meer und die Alpen feiert das Kunstmuseum Luzern 2019 das 200-Jahr-Jubiläum der Kunstgesellschaft Luzern, dem Trägerverein des Kunstmuseums Luzern.
Kunstmuseum Luzern

Europaplatz 1
CH-6002 Lucerne

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posted 05. Jul 2019

Arbeitsgruppe Kunst. 50 Jahre "neue Gesellschaft"

22. Jun 201904. Aug 2019
Die nGbK wird 50 Jahre alt. Wie begeht man ein Jubiläum in einem Verein, dessen Geschichte sich nicht als eine Abfolge von Kurator_innenhandschriften erzählen lässt, sondern in der vor allem die Auseinandersetzung um die gesellschaftspolitische Rolle der Kunst im Zentrum stand? Wie lässt sich über Jahrzehnte produziertes, institutionelles und aktivistisches Wissen mit Blick auf aktuelle Diskurse lesen und wie lässt sich diese mitunter ambivalente Ressource für die Gegenwart aktivieren? Diese Fragen wurden zunächst im Verein diskutiert und schließlich in einer neu gegründeten Arbeitsgruppe als Ausstellung und als diskursives Format weiterentwickelt. Die eingeladenen Künstler_innen Özlem Altın, Alice Creischer/Andreas Siekmann und Aykan Safoğlu in Zusammenarbeit mit Nihad Nino Pušija haben sich der akkumulierten Geschichte im Vereinsarchiv auf unterschiedliche Weise angenähert: teils assoziativ, teils analysierend und manchmal die Person hinter dem Material suchend. In ihren neu entstandenen künstlerischen Arbeiten legen sie Begehrensstrukturen offen, fragen nach den Funktionen der Kunst in gegenwärtigen kapitalistischen Wertschöpfungsketten des Immobiliensektors und erzählen von künstlerischen Freund_innenschaften, die jenseits institutioneller Narrative entstanden sind. Die Vielstimmigkeit der Perspektiven zeigt: Nach 50 Jahren Basisdemokratie lässt sich nicht nur ›eine‹ Geschichte erzählen.
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posted 04. Jul 2019

Anna K.E. & Florian Meisenberg. Complimentary Blue

28. Jun 201915. Sep 2019
opening: 27. Jun 2019 07:00 pm
Anna K.E. & Florian Meisenberg. Complimentary Blue 28.06.2019 - 15.09.2019 What does reality mean after the digital revolution? Anna K.E. (*1986 in Tbilisi, Georgia) and Florian Meisenberg (*1980 in Berlin, Germany) are pursuing this burning question in their own unique way. Since eight years, they share a studio and an apartment in New York, and investigate their joint creative process. They share a mutual interest in the latest technologies and their impact on the digital and analogue world. Their solo exhibition at Kunstpalais combines paintings, videos, installations and computer simulations into one enormous art parcour. Florian Meisenberg began his artistic career as a painter, which is apparent in his persistent fascination of surfaces, displays and other two-dimensional pictures. As a professionally trained dancer, Anna K.E. often works with her own body to produce videos, performances and photographs. As different as their artistic strategies might be, a joint affinity towards a contemporary aesthetics is observable within their individual works on the basement floor, inspired by smooth reflecting surfaces and computer-generated colors. On the ground floor, they show collaborative projects. The six videos from Late Checkout were all produced in New York and show the duo sliding in symbiotic movements through their hotel room. They are communicating without words. K.E. filmed by Meisenberg reacts to the pictures of herself through his live-feed, transmitted to her smartphone display. In Countdown Belladonna they film the reflection of their phone displays in their iris with a high resolution camera. For a well-curated hour the artists give us insights into their favourite scenes from diverse feature films and documentaries as well as their YouTube favourites. The work Electric Forest, an installation with 3D-LED-fans and an online-simulation, will premiere at Kunstpalais. The online-simulation is publicly accessible under: www.100untitledworksinmillaluminum.org/. Curator: Milena Mercer

artists & participants

Anna K.E.,  Florian Meisenberg 


Milena Mercer 
Kunstpalais Erlangen

Palais Stutterheim | Marktplatz 1
91054 Erlangen

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posted 03. Jul 2019

The Alt-Right Complex

30. Mar 201922. Sep 2019
The Alt-Right Complex On Right-Wing Populism Online March 30–September 22, 2019 The international group exhibition deals with forms of right-wing populism, which, especially today, use the Internet and "social media" to disseminate ideas. The Alt-Right Complex traces the development from a (sub)culture of transgression in online forums such as 4chan to platforms such as Breitbart News. The artists deal with memes (e.g. Pepe the Frog, probably the most famous symbol of the Trump followers), with figures such as Steve Bannon, flag worship, the prepper scene, White Supremacists and Dark Enlightenment. The exhibition is accompanied by a critical glossary that briefly explains the most important terms. The Alt-Right Complex presents 12 projects by 16 artists from 12 countries: Germany, France, Great Britain, Canada, New Zealand, the Netherlands, Austria, Poland, Hungary, Switzerland, Serbia and Slovakia. The exhibition is curated by Inke Arns (HMKV). Participating Artists: Paula Bulling / Anne König (DE), Simon Denny (NZ), DISNOVATION.ORG (FR/PL), Vera Drebusch & Florian Egermann (DE), Dominic Gagnon (CA), Szabolcs KissPál (HU), Boris Ondreička (SK), Milo Rau, IIPM – International Institute of Political Murder (CH/DE), Vanja Smiljanić (SR), Jonas Staal (NL), Nick Thurston (GB), UBERMORGEN (CH/AT) The exhibition The Alt-Right Complex will include performances, discussions with artists and a series of lectures ("The Kids Are Alt-Right"). All dates at www.hmkv.de As part of the opening of The Alt-Right Complex, the Justus Bier Award 2018 will also be presented on Friday, March 29, 2019 at 7pm. The Justus Bier Award for Curators, which honors outstanding curatorial achievements in the German-speaking world, will be presented for the first time to a German art association in its tenth edition, for the exhibition and publication The Storming of the Winter Palace. Forensics of an Image. The award winners are Inke Arns, Director of the Hartware MedienKunstVerein (HMKV) in Dortmund (DE), Igor Chubarov, Director of the Institute for Social Sciences and Humanities at the State University of Tyumen (RU) and Sylvia Sasse, Professor of Slavic Literary Studies at the University of Zurich (CH). The exhibition toured internationally: in 2017 it was shown at Gessnerallee Zurich (CH), in 2017-2018 at HMKV at the Dortmunder U in Dortmund (DE) and in 2018 at Muzeum Sztuki in Łódź (PL) (see press release of January 15, 2019 at www.hmkv.de). The Alt-Right Complex is an exhibition of the HMKV (Hartware MedienKunstVerein), Dortmund Curated by Inke Arns (HMKV) Cooperation Partner Urbane Künste Ruhr - Ruhr Ding: Territories Funded by the Ministry of Culture and Science of the State of North Rhine-Westphalia and Kunststiftung NRW Funder HMKV Kulturbetriebe Stadt Dortmund / Dortmunder U - Center for Arts and Creativity


Inke Arns 
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posted 02. Jul 2019

Nora Schultz

27. Jun 201901. Sep 2019
opening: 26. Jun 2019 07:00 pm
Nora Schultz 27.06.2019 - 01.09.2019 Eröffnung: Mittwoch, 26.06.2019 19:00 Uhr Alltagsgegenstände, Sprache, Aufzeichnungssysteme und kulturelle Verschiebungen spielen in Schultz’Arbeit ebenso eine Rolle wie die Beobachtung und kritische Involvierung des Ausstellungsraumes undder Künstlerin selbst als Produzentin der Arbeit. In ihren jüngsten Arbeiten kommen zudem verschiedene Kameras (GoPro, Videodrohne etc.) als automatisierte „Koproduzenten“ zum Einsatz, deren Beitrag zumkreativen Prozess Schultz allerdings nicht vollständig kontrollieren kann, da sie über eine eigene Dynamikverfügen und die Position der Künstlerin/Autorin während ihres Einsatzes immer wieder hinterfragen. In performativen Interaktionen entwickelt Schultz oft große Installationen, die die Strukturen des Raums miteinbeziehen, ihn komplett vereinnahmen und manchmal über seine Grenzen hinausragen. Die Ausstellung in der Secession verwirklicht ein vielschichtiges Proposal, das Schultz in derbegleitenden, selbst entworfenen Publikation veröffentlicht, und das in einem Schuber sechs Poster undfünf Magazine inklusive eines Proposal-Texts umfasst. Außerdem wurde in mehreren Schritten einKalenderblatt transformiert, um Pläne oder Instruktionen für eine Dreidimensionalisierung vonAtlas / Der Tag in der Secession zu entwerfen. Die Ausstellung befindet sich auf einem Weg zwischen Konzept, Simulation und Verwirklichung. Sie wirddurch einen Luftzug animiert, den eine Öffnung im Raum ermöglicht bzw. durch Wellenströmungen in einem festen System – die Klimaanlage – wenn die Tür geschlossen ist. Distanz wird in would you saythis is the day? zum Produktionsmittel. Die sorgfältige Ausführung der Anweisungen, Zeichnungen,Visualisierungen und Notationen des Konzepts ergibt eine Wanderausstellung mit einer umfassendenInstallation, in derAtlas undDer Tag die zentralen Protagonisten sind. Die anlässlich der Ausstellung realisierte Installationwould you say this is the day? besteht aus mehrerenindividuellen Elementen, die mit den spezifischen architektonischen und örtlichen Gegebenheiten desAusstellungsraums spielen und sich förmlich in diesen einschreiben. Zum einen sind da drei im Raum verteilte vom Boden bis zur Decke reichende Skulpturen ausAluminiumdraht (Atlas / The Day1, 2 und3). Ihre offene Form lässt abstrakte räumliche Zeichnungen entstehen, die dort, wo sie stehen, den Blick in die sonst verborgene Ebene über der Glasdecke eröffnen.Diese verkörpern unterschiedliche Verräumlichungsschritte eines von der Künstlerin gefundenenKalenderblatts und seines Ordnungsrasters. Zugleich stellen sie ihre künstlerische Interpretation derskulpturalen VorbildfigurenAtlas undDer Tagdar. Die Umsetzung der Skulpturen vor Ort erforderte dieenge Zusammenarbeit und Kommunikation zwischen der in den USA verweilenden Künstlerin undKuratorin und Installationsteam in der Secession. Als Vorlage dienten einerseits von Nora Schultzangefertigte Zeichnungen, die in der von ihr konzipierten und gestalteten Publikation veröffentlicht sind,und eigens hierfür gebaute Modelle. Auf täglicher Basis diskutierten die aus der Distanz zusammen-wirkenden Beteiligten den Prozess und glichen die Gestaltung fortlaufend miteinander ab. Das Sujet des besagten Kalenderblatts, das mit handgezeichneten Gesichtern geschmückt ist – eine Artsubjektiven Eingriffs, der das Ordnungssystem durchbricht – wurde von der Künstlerin bearbeitet, umdem zeitlichen Rahmen einen räumlichen hinzuzufügen und ist als 3 x 6 m große, an der linken Stirnwandangebrachte Tapete (Hopes and Dreams, 2019) zu sehen. Im Einklang mit dem Raster des Raums undmit seinen gekrümmten Linien zugleich davon abweichend, bestimmt er den Gesamteindruck mit. Weiters sind zwei neue Videoarbeiten – Whale WatchundSimulated Whale Watch (beide 2019) – in denSeitenschiffen zu sehen. Während erstere einen Bootsausflug zum Zwecke des Sichtens von Walen an der Ostküste der USA vor Boston (mit einigen Verfremdungen) dokumentiert, wurdeSimulated WhaleWatch im Atelier der Künstlerin mit einer GoPro-Kamera nach einem Drehbuch gefilmt. Die Künstleringab hier die Kontrolle darüber ein Stück weit ab: durch die Wahl der Kamera selbst, die keinen Monitor hat, aber auch durch die Art des Filmens mit der auf einer langen Stange befestigten Kamera – einer ArtVerlängerung der filmenden Hand. Die SoundinstallationThe Sound will be Untied bildet eine Art unsichtbare Klammer, die den Raum fasstund die Installation mit dem Außenraum (performativ) verbindet. Die Grundlage hierfür sind Aufnahmendes konstanten Surrens der Klimaanlage im Studio der Künstlerin in Boston. Die bereits erwähntenZeichnungen für die Umsetzung der Skulpturen wie auch gezeichnete Notationen der Künstlerin, die sichebenso in der Publikation wiederfinden, dienten als Partitur für die (abstrakte) Komposition. Die Türe zumGarten hinter der Secession ist während der Öffnungszeiten geöffnet, so dass die Geräusche derUmgebung in den Raum dringen können und die Komposition der Künstlerin erst komplettieren. Dersonst geschlossene Raum der Institution – eine Art geschlossenes System oder Kreislauf – wirdaufgebrochen und vermischt. Nur in der Nacht, wenn alle BesucherInnen das Gebäude verlassen haben, verschließt sich der Kreis, wenn der Sound der Klimaanlage der Künstlerin und jener der Secession, diezur Kühlung über Nacht angeschaltet wird, sich überlagern. Allen Elementen gemein ist der Versuch, sich aus der Distanz, der geografisch realen beispielsweise – oder aber aus jener auf die reine Vorstellung oder Erinnerung basierenden Distanzierung – einem Raum-Zeit-Körper anzunähern, diesen zu erfassen zu suchen und dieses System, dann künstlerisch-subjektivgefiltert und manipuliert, wiederzugeben Nora Schultz, geboren 1975 in Frankfurt am Main, studierte an der Städelschule in Frankfurt und am BardCollege in New York und lebt derzeit in Boston. Das Ausstellungsprogramm wird vom Vorstand der Secession zusammengestellt. Kuratorin: Jeanette Pacher Künstlerbuch nora schultz.would you say this is the day? Format: 160x240 mmDetails: handgefertigter Schuber, fünf Booklets, sechs unterschiedliche DrucksortenKonzept: Nora SchultzTexte und Zeichnungen: Nora SchultzSecession 2019Vertrieb: Revolver PublishingEUR 26,40 Parallel zur Ausstellung / Installation hat Nora Schultz auch eine Publikation konzipiert und gestaltet.Sie besteht aus fünf Heften, u.a. mit Zeichnungen, einer Notation und dem Proposal-Text sowie sechsPostern mit unterschiedlichen Motiven, die in einem handgemachten Kartonschuber zusammengehaltenwerden. Kuratorinnenführung Donnerstag, 4. Juli 2019, 16.30 Uhr Jeanette Pacher, Bettina Spörr und Annette Südbeck führen durch die Ausstellungen vonNora Schultz, Rosalind Nashashibi und Fiona Connor


Nora Schultz 


Jeanette Pacher 
Wiener Secession

Friedrichstraße 12
A-1010 Vienna

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posted 01. Jul 2019

Anthony Caro. Seven Decades

01. May 201906. Jul 2019
Anthony Caro. Seven Decades 01.05.2019 - 06.07.2019 Annely Juda Fine Art is pleased to present an exhibition of works by Sir Anthony Caro, spanning seven decades of his career including early pieces from the 1950s through to his last works in 2013. Born in Surrey in 1924, Caro – having studied at the Royal Academy, London from 1947-52 – started working as an assistant to Henry Moore, who shaped his early understanding of sculpture by introducing him to modern art and a ‘whole new world of non-academic art’.[1] In the 1950s, Caro’s work was dominated by bronze figurative sculptures but by the early 1960s a dramatic change in direction emerged. Caro decided to make the innovative move to place his sculptures off the plinth and onto the floor. This was marked by his ground-breaking exhibition at the Whitechapel Gallery in 1963 of large brightly painted abstract sculptures positioned directly on the ground, which had never been done before. While his interest in exploring sculpture’s interaction with the human form remains a central theme in these works, he continued to move increasingly towards abstraction and the use of new materials, surfaces and techniques. Caro began to use steel after a visit to New York in the 1960s left him with a sense of needing to experiment and ‘do something different’. Caro remarked: ‘Clement Greenberg, the art critic, said to me, “If you want to change your art, change your habits”, so I thought, well, let’s do something completely different, and it was that, that made me go down to the docks and buy some steel.’[2] Through the 1970s and 1980s Caro continued constructing works from steel and experimenting with painted surfaces. His Table Pieces of this time continued to challenge the restrictions of the plinth further by hanging off the edge or reaching all the way to the floor. Additionally, in the 1990s his works began to involve the assemblage of different combinations of steel components with found industrial objects being recognisable as part of the sculptures. Although he continued to worked extensively in steel, in the 2000s and 2010s Caro also continued to explore and experiment and his works included a diverse range of other materials, including bronze, silver, lead, stoneware, wood and in his last sculptures, coloured Perspex. Anthony Caro is often regarded as the greatest British sculptor of his generation and has played a pivotal role in the development of twentieth-century sculpture. His teaching at St Martin’s School of Art in London from 1953 to 1981 was very influential. He questioned assumptions about form, material and subject matter in sculpture and his work inspired a whole younger generation of British sculptors. The exhibition is accompanied by a catalogue with an essay by Dieter Schwarz, former Director of Kunstmuseum Winterthur. A selection of large outdoor sculptures by Anthony Caro will be shown at the Cliveden National Trust from May to November 2019 in collaboration with Blain Southern Gallery and an exhibition of Caro’s works will be on display at Norwich University of the Arts from May to July 2019. Anthony Caro: Born in Surrey in 1924 • Studied Sculpture at the Royal Academy, London from 1947–52 • Married the artist Sheila Girling in 1949 • Started working as an assistant to Henry Moore in 1951 • Started teaching at St. Martin’s School of Art, London in 1951 until 1981 • First solo exhibition at Galleria del Naviglio, Milan in 1956 •Groundbreakng solo exhibition at Whitechapel Gallery, London in 1963• Retrospective at the Hayward Gallery, London in 1969 • Retrospective at Museum of Modern Art, New York in 1975 • Received his knighthood in 1987 • Received the Order of Merit in May 2000 • Died 23 October 2013 in London [1]Anthony Caro, ‘Woman in Pregancy’ in Anthony Caro(London: Phaidon Press, 2014), p.18 [2]Caro, ‘Twenty-Four Hours’ in Anthony Caro(London: Phaidon Press, 2014), p.24


Anthony Caro 
Annely Juda Fine Art, London

23 Dering Street
W1S 1AW London

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posted 30. Jun 2019


30. Jun 201904. Aug 2019
opening: 29. Jun 2019 06:00 pm
Ort: Kunstpalast Düsseldorf 30.6. - 4.8.2019 Eröffnung, 29. Juni 2019, 18 Uhr Die größte von Künstlern für Künstler organisierte Ausstellung in Deutschland Ob Paul Cézanne, Auguste Rodin, K.O. Götz oder Neo Rauch – sie und zahlreiche weitere renommierte Künstler stellten hier bereits neben vielversprechenden jungen Künstlern aus – bei der DIE GROSSE Kunstausstellung NRW Düsseldorf im Kunstpalast. Vom 30. Juni bis 4. August 2019 findet die größte von Künstlern für Künstler organisierte Ausstellung in Deutschland wieder statt. Bereits seit 1902 bietet der Verein zur Veranstaltung von Kunstausstellungen e.V. mit der Organisation dieser Ausstellung eine einzigartige Plattform für den Austausch von Künstlern, Kunstinteressierten und Käufern. Die Werke können von den Besuchern ohne Beteiligung einer Galerie direkt erworben werden. Insgesamt 121 Künstler sind bei der diesjährigen Ausstellung dabei und zeigen ihre Arbeiten aus den Bereichen Malerei, Fotografie, Grafik, Bildhauerei, Installation und Video. Die Auswahl aus über 700 Bewerbungen traf die jährlich wechselnde Jury. Dem diesjährigen Gremium gehörten an: Jörg Eberhard, Christine Erhard, Vera Lossau, Felix Krämer, Prof. Ferdinand Ullrich sowie Clemens Botho Goldbach und Wolfgang Hambrecht. „DIE GROSSE zählt mittlerweile zu den bedeutendsten Düsseldorfer Kunstereignissen. Dass sich in Düsseldorf seit nunmehr über 115 Jahren Künstler füreinander engagieren, ist ein Modellfall“, sagt Michael Kortländer, Ausstellungsleiter und Vorsitzender des Verein zur Veranstaltung von Kunstausstellungen e.V. Der Verein, der auf eine der ältesten Künstlerorganisationen Deutschlands zurückgeht, hat sich mit dieser Form der Kunstpräsentation und des Kunstverkaufs nicht nur um die soziale Absicherung von Künstlern verdient gemacht, sondern auch maßgeblich zu der Entstehung des Kunstpalastes beigetragen und damit die Kunstszene am Rhein nachhaltig geprägt. 15.000 Besucher konnte die DIE GROSSE im vergangenen Jahr verzeichnen. Wegen des enormen Interesses wird die Ausstellung in diesem Jahr erweitert: „Wir freuen uns, dass wir DIE GROSSE 2019 erstmals fünf Wochen zeigen können. Durch die Verlagerung in den Sommer können wir zudem auch das Außengelände des Museums für die Präsentation der Werke nutzen“, so Kortländer weiter. Den Kunstpreis der Künstler erhält in diesem Jahr der Fotograf Boris Becker. Der Förderpreis geht an den jungen Bildhauer Philipp Röcker. Studierende der Kunstakademie Düsseldorf, Klasse Professor Gostner, beteiligen sich mit ihren Werken in einem eigens von ihnen entwickelten gemeinschaftlichen Ausstellungskonzept. Unter dem Titel „Das Kleine Format“ werden Arbeiten präsentiert, die zum Preis bis max. 450 Euro erworben und direkt mit nach Hause genommen werden können. Begleitend zu der Ausstellung finden donnerstags die DONNERHALL- und sonntags die Matinée-Veranstaltungen statt. Zur Ausstellung erscheint ein umfassender Katalog zum Preis von 20 Euro. Kunstpreis der Künstler an Boris Becker Wie in jedem Jahr zeichnet der Verein zur Veranstaltung von Kunstausstellungen e.V. einen Kollegen mit dem Kunstpreis der Künstler aus. In diesem Jahr wird der Preis an den Fotografen Boris Becker für sein beeindruckendes fotografisches Werk übergeben. Der 1961 in Köln geborene Künstler nimmt eine bedeutende Position in der Rheinischen Kunstszene ein. Er studierte zunächst in Berlin bei Professor Wolfgang Ramsbott und setzte sein Studium in Düsseldorf in der Klasse Becher fort. Der Kunstwelt bekannt sind seine oft als Reihe angelegten Motivuntersuchungen von scheinbar belangloser oder in Vergessenheit geratener Architektur. Neben diesen bekannten Serien gehören Stillleben und Landschaften zu seinem Werk. In der DIE GROSSE 2019 werden bedeutende Arbeiten seines umfangreichen Werkes gezeigt. Die Besucher können sich auf ein „Wiedersehen“ mit einigen bekannten Arbeiten freuen, sich aber auch mit den neuesten Entwicklungen des Künstlers auseinandersetzen. Förderpreis an Philipp Röcker Der Bildhauer Philipp Röcker (geb. 1984, Aalen) erhält in diesem Jahr den Förderpreis. Der in Düsseldorf und Bordeaux lebende Künstler studierte seit 2012 an der Kunstakademie Düsseldorf bei Professor Didier Vermeiren, zu dessen Meisterschülern er ab 2015 zählt. Die Geschichte der DIE GROSSE Kunstausstellung NRW Düsseldorf Der Verein zur Veranstaltung von Kunstausstellung e.V. wurde im Jahr 1900 gegründet. Er errichtete in den darauffolgenden zwei Jahren auf einem Grundstück der Stadt Düsseldorf den Kunstpalast. Finanziert wurde dieser mit eigenen Mitteln und mit der Ausgabe von Anteilscheinen. 1902 fand die erste „Große Kunstausstellung“ (Deutschnationale Kunstausstellung) statt. Schon im Jahr 1905 erhielten alle Anteilzeichner aus den Gewinnen der bis dahin durchgeführten Ausstellungen ihre Gelder zurück. Der Verein übergab den schuldenfreien Palast an die Stadt Düsseldorf mit der Maßgabe, dort einmal im Jahr eine Große Kunstausstellung durchführen zu können. Zu den Gründungsmitgliedern gehören u.a. die Künstler Wilhelm von Schadow, Oswald Achenbach, Wilhelm Camphausen sowie Adolf von Menzel.

Museum Kunstpalast | Ehrenhof 4-5
40479 Dusseldorf

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posted 29. Jun 2019

Jonas Lipps

30. Jun 201925. Aug 2019
opening: 29. Jun 2019 07:00 pm
Jonas Lipps 30.06.2019 - 25.08.2019 Eroeffnung: Samstag, 29.06.2019 19:00 Uhr Ort: Halle fuer Kunst Lueneburg, Reichenbachstrasse 2, 21335 Lueneburg Versucht man die Arbeiten von Jonas Lipps zu beschreiben, dann geht das in etwa so: Jonas Lipps zeichnet. Hierfuer benutzt er vornehmlich Tusche, Wasserfarben, Buntstifte und Casein, um auf heterogenen Untergruenden wie Papierservietten, Pizzakartons oder gefundenen Papieren oft als surreal beschriebenen »Welten« zu entwickeln, welche in sozial-repressiven Zusammenhaengen situiert sind (Schule, Amt, Krankenhaus, Polizei etc.) und von einer Faszination fuer die sich dort ereignenden skurrilen bis sadistischen Begebenheiten zeugen. Allein schon der vielgestaltigen Untergruende wegen verstroemen Lipps Arbeiten etwas je Spezifisches; man koennte auch sagen, In-sich-Konzentriertes. Das sind keine Zeichnungsreihen. Lipps’ Bilder/Szenerien stehen im Gegenteil eher fuer sich, gehen in die Tiefe, bilden Krater, in die man hineingezogen wird, und suchen erst im zweiten Schritt das Gespraech mit ihren Nachbarzeichnungen. Auch wird nichts Schwergewichtiges verhandelt. Zumindest nicht auf erster Ebene. Vielmehr sind es Narrationen, die wie schnelle Witze, Gassenhauer oder Traeume funktionieren. Witz interessiert hier allerdings nur als Format (die kleine Erzaehlung) und Verdichtungstechnik. Wer sich mal als Comedian versucht hat, weiß wie schwer es ist, die Pointe wirklich auf den Punkt zu bringen. Scheitern und Erfolg liegen hier ganz nah beieinander. Lipps gelingt dies jedoch mit einer nicht enden wollenden Leichtigkeit. Immer und immer wieder. Das hat schon was von Altersweisheit und korrespondiert auf sonderliche Weise mit dem seltsamen Aus-der-Zeit-gefallen-Sein seiner Bilder, aber auch mit dem offenkundig distanzierten Blick, den er auf die Dinge (und wohl auch auf sich) richtet. Arbeiten von Jonas Lipps (*1979 Freiburg) wurden u.a. gezeigt bei Bureau NY, New York (2018), bei Tanya Leighton, Berlin (2018, 2017), in der Gallery Celine, Glasgow (2017), bei The Duck, New York (2016), bei Grieder Contemporary, Zuerich (2016, 2014), bei LISZT, Berlin (2015), bei walks news, Berlin (2015), in der Galerie der Stadt Schwaz (2015), bei Paradise Garage, Los Angeles (2015), in den Fuerstlich Fuerstenbergischen Sammlungen Donaueschingen (2014), bei Truth and Consequences, Genf (2014), bei Cleopatra’s, New York (2014), im Kunstverein Bremerhaven (2013), bei der Prag Biennale (2013), im M1, Hohenlockstedt (2013), bei Ben Brown Fine Arts, Hong Kong (2012), in der Thomas Solomon Gallery, Los Angeles (2012), bei Klosterfelde, Berlin (2010, 2006, 2004), bei Francesca Minini, Mailand (2009), in der Lehmann Maupin Gallery, New York (2008) und in der Gagosian Gallery, Berlin (2005).


Jonas Lipps 
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posted 28. Jun 2019

Rirkrit Tiravanija: Who’s Afraid of Red, Yellow, and Green

17. May 201924. Jul 2019
Hirshhorn To Present Interactive Exhibition by Artist Rirkrit Tiravanija Exhibition Features Documentary Films Curated by Acclaimed Filmmaker Apichatpong Weerasethakul May 17–July 24 The Hirshhorn Museum and Sculpture Garden will present the museum’s first-ever exhibition of works by contemporary Thai artist Rirkrit Tiravanija. Organized by Mark Beasley, the museum’s Robert and Arlene Kogod Secretarial Scholar, Curator of Media and Performance Art, the exhibition titled “Rirkrit Tiravanija: Who’s Afraid of Red, Yellow, and Green,” will transform the Hirshhorn’s galleries into a communal dining space in which visitors will be served curry and invited to share a meal together. The installation includes a large-scale mural, drawn on the walls over the course of the exhibition, which references protests against Thai government policies. The exhibition will also include a series of documentary shorts curated exclusively for the Hirshhorn by Thailand’s leading independent filmmaker and Palme d’Or prize-winner Apichatpong Weerasethakul in collaboration with the artist. On view May 17–July 24, Tiravanija’s presentation unites his signature communal food-based work with his ongoing series of drawings derived from protest imagery, creating a unique dialogue within a single installation. “We are excited to introduce Tiravanija’s interactive culinary experience to the Washington, D.C., community,” said Hirshhorn Director Melissa Chiu. “Tiravanija’s thoughtful practice offers new perspectives on the ways in which art and creativity are used to interpret political and social issues of our time.” Tiravanija’s long and varied career defies classification. For nearly 30 years, his artistic production has focused on real-time experience and exchange, breaking down the barriers between object and spectator. The title of Tiravanija’s culinary installation, which will be presented at the Hirshhorn for the first time since it entered the museum’s collection in 2017, “(who’s afraid of red, yellow, and green),” refers to the colors worn by the various factions in recent Thai government protests. The title also refers to the 1982 vandalism of Barnett Newman’s similarly titled painting in Berlin, which was motivated by the attacker’s belief that Newman’s painting was a “perversion” of the German flag. To soften Newman’s provocative title, Tiravanija uses parentheses and lowercase letters, suggesting that viewers answer the question as framed: “Who is afraid of what these colors symbolize?” Tiravanija’s unorthodox work first came to public view in a 1989 New York group show that included “Untitled Empty Parenthesis,” which consisted of the remains of a green curry meal. He continued to challenge the possibilities of the gallery space, eventually co-opting it as a site for the preparation and consumption of communal meals for gallery-goers as in “Untitled (Free)” (1992), and even going so far as to invite people to live within the gallery in “Untitled” (1999), which was an exact replica of his East Village apartment. Tiravanija’s interest lies in a desire to subvert deeply ingrained ways of interacting with art. By seeking alternative experiences of time, Tiravanija opens the door for novel forms of collaboration and exchange by diminishing the preciousness of objects through a reconsideration of their life cycle and function. About the Artist Born in Buenos Aries, Argentina, Tiravanija received his Bachelor of Arts from the Ontario College of Art and Design in 1984 and his Master of Fine Arts from the School of the Art Institute of Chicago in 1986. From 1985 to 1986, he participated in the Whitney Independent Study Program. He has received numerous grants and awards, including the Absolut Art Award (2010), the Hugo Boss Prize (2004), the Lucelia Artist Award (2003) and the Gordon Matta Clark Foundation Award (1993), among others. He has had individual exhibitions at the following institutions: Modern Art Museum of Fort Worth, Texas (2014); Yerba Buena Center for the Arts, San Francisco (2013); Tate Modern, London (2013); Singapore Art Museum, Singapore (2012); Centre Pompidou, Paris (2012); MoMA (Museum of Modern Art), New York (2012); Bonnierskonsthall, Stockholm (2011); Mildred Lane Kemper Art Museum, St. Louis (2009); and Drawing Center, New York.
Hirshhorn Museum and Sculpture Garden, Washington

Independence Avenue at Seventh Street SW
DC 20013 Washington

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