daily recommended exhibitions

posted 22. Jul 2019

Shirana Shahbazi. New Good Luck

08. Jun 201926. Jul 2019
Shirana Shahbazi. New Good Luck 08.06.2019 - 26.07.2019 Opening: Saturday, 08.06.2019 17:00 - 20:00 A new group of works by Shirana Shahbazi (*1979 Tehran, Iran; lives and works in Zurich) will be presented in the gallery’s project space. A number of mid-sized format works that were created in the context of the simultaneously issued photo book and which draw upon the artist’s three-month stay in India are on show. The motifs collected on the journey are fragmentarily dissolved from their actual narrative and are subjected to a very intimate creative process on the basis of her artistic repertoire. It is experimentation with the original subject of the picture and its photographic quality conceptually mixed with classical lithographic printing techniques. As in previous series such as Tehran North from 2015, Shahbazi is interested in how a journey and the encounters experienced can be perceived photographically without them being externally determined by the visual power of the culturally charged and often very overwhelming colourfulness of the locations. It is the making of collages without physical intervention: the snapshots, which often show anonymous individual people in architectonic space or in a landscape, are taken apart and reshaped, their colour taken out of them or reconfigured like a reset. Carefully selected colour areas of luminous intensity are layered on top of each other and dissolve or densify. These areas, which sometimes protrude far beyond the edges of the actual scene, flow together with selected openings and break open the composition like a prism. The photo book that accompanies the exhibition, produced in cooperation with Manuel Krebs, and which as in past projects plays a very central role in the artist’s research, was not least responsible for pointing the way for this method. The publication and the artist’s stay in India was made possible with the support of Pro Helvetia. The book will be published at Sternberg Press and is available at the gallery. Shahbazi’s works are represented in the collections of important institutions all over the world such as the Guggenheim Museum, New York; the Museum of Modern Art, New York, Tate Modern, London; the National Museum of Photography, Copenhagen; the Sprengel Museum, Hanover and the Migros Museum für Gegenwartskunst, Zurich. Important recent solo exhibitions include at Kunsthaus Hamburg (2018); Istituto Svizzero, Milan (2018); Museum Fotogalleriet, Oslo (2017); KINDL, Berlin (2017); Camera Austria, Graz (2016) and Kunsthalle, Bern (2014). Currently Shahbazi’s works are on show in the Niko Pirosmani group exhibition curated by Bice Curiger at the Fondation Vincent Van Gogh (until 30 June). Shahbazi has been known for her art in public space since 2005: in 2015 she participated in the renovation project of the ZKB (Zurich Cantonal Bank) and in 2017 designed the walls of the new Axel Springer office, both in Zurich. Shahbazi has also been awarded the Prix Meret Oppenheim 2019, which will be presented on 10 June as part of the Swiss Awards.
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posted 21. Jul 2019

Fragmented Realities

07. Jun 201918. Aug 2019
Fragmented Realities 07.06.2019 - 18.08.2019 In the natural sciences, researchers have succeeded in breaking down living systems to their smallest constituents; to genes and molecules. The human body has broken into billions of fragments which has given us unique knowledge of life and man. At the same time, it is just a sensation of the complex system that forms the whole. In order to understand how everything is connected, we need to see how it works small and large. Here, in the movement between micro and macrocosm, chaos and order, dissonance and harmony, dissolution and structure, we find the core of this summer's group exhibition, which presents five artists: Anastasia Ax , Alina Chaiderov , Serina Erfjord , Monika Grzymala and Henrik Håkansson . In various ways, the artists ask questions about what happens when something is broken down into particles, or investigates the dissolution of matter, structure and systems. In installation, video, painting and sculpture, the artists explore the new realities that are born from the fragmented universe of the disintegration state. Serina Erfjord's work Among Stars is a poetic and quiet depiction of the smallest elements of photography. Here the image is transformed into small particles of light and silver, which weightlessly floats in a black room, like a starry sky. Anastasia Ax's work and performance The World As of Yesterday can be regarded as both a creative process and a destruction act. She uses large bales consisting of thousands of pressed layers of recycled paper. With a violent force, the Ax decomposes the paper and allows ink to flow over the installation. Here she dismantles the white cube and swears its walls and symbolic value. The work is a strong and irrevocable comment on our consumption society, and forms an archive of the unwanted. Monika Grzymala's work consists of several kilometers of tape. In her works, she challenges traditional painting by blowing its frame and forming spatial installations reminding us of the power of explosions or organic parasites. Henrik Håkansson's work The Symptoms of the Universe shows in slow motion a tree that bursts into small pieces and which is presented in its physical form in the room. Through tree chips and remnants we are faced with a new universe where the tree's resolution opens up for a reflection on people's relation to the different events of life, and the cycle of nature and society. Alina Chaiderov's work Untitled (Kid Concrete) is an abstract composition consisting of a gray-painted linoleum mat with newspaper spreads, whose novelties are painted and blotted out in the same universal gray color. About 50 neo-yellow tennis balls challenge the symmetrical order by being placed both inside and just outside this framework. Through displacements and movements in sculptural compositions, she takes on themes such as matter, memory, time and space.
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posted 20. Jul 2019


22. Jun 201925. Aug 2019
opening: 21. Jun 2019 07:00 pm
Groups 22.06.2019 - 25.08.2019 Presserundgang: 20. Juni, 11 Uhr Eröffnung und Sommerfest: 21. Juni, 19 Uhr Cashmere Radio, Colectivo Los Ingrávidos (MX), DAS INSTITUT (UK/US), Honey-Suckle Company (DE), KAYA (US), (Music For) Eggplant (FR), projektKLUB (DE), SUPERFLEX (DK) Groups stellt das kollaborative Arbeiten ins Zentrum, das sich in unterschiedlichen Formaten und Themenstellungen zeigt. Künstler_innen schließen sich zusammen, gründen Kollektive und kooperieren, um vielschichtige Projekte zu realisieren. Die Ausstellung Groups versteht sich dabei auch als Wertschätzung für eine Arbeitsweise, die der Idee widerspricht, dass Kunst per se auf Einzelne zurückzuführen ist: „Am Anfang einer Bewegung steht ein Ereignis, bei dem das Ich zu einem Wir wird.“ (Wittenburg / Voss) Es gilt, das Konzept des Künstler_innensubjekts hinter sich zu lassen, um sich für unterschiedliche Modelle des Gemeinschaftlichen zu öffnen. Dabei treffen die prozessbasierten Arbeiten der Mitte der 1990er Jahre gegründeten Honey-Suckle Company auf Installationen und Langzeit-Performances von (Music For) Eggplant. Während Colectivo Los Ingrávidos experimentelle Filme als Mittel des soziopolitischen Protests nutzt, erschaffen projektKLUB eigene soziale Räume, die im Ausstellungsverlauf verschiedentlich aktiviert werden. Mit KAYA und DAS INSTITUT sind zwei mit der Künstlerin Kerstin Brätsch assoziierte Konstellationen vertreten, die regelmäßig Dritte in ihre Projekte involvieren, ähnlich wie das dänische Trio SUPERFLEX, das ständig neue Tools zur Partizipation entwickelt.
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posted 19. Jul 2019

Peles Empire. The Sky Opens Twice

29. Jun 201905. Sep 2019
opening: 28. Jun 2019 06:00 pm
Peles Empire. The Sky Opens Twice 29.06.2019 — 05.09.2019 Gestern wird Heute, Oben wird Unten, Innen wird Außen: Der Wechsel von Paradigmen und Perspektiven ist inhaltlicher Dreh- und Angelpunkt der Einzelausstellung „The Sky Opens Twice“ des Berliner Künstlerinnen-Duos Peles Empire im Künstlerhaus, Halle für Kunst & Medien (KM– Graz). Gleich mehrere großformatige Neuproduktionen spielen mit der Wahrnehmung der Besucher_innen der Institution durch die Adaption, Spiegelung und Streckung ihrer Architektur. So breitet sich der Himmel in der Haupthalle im Erdgeschoss des Künstlerhauses in den Raum aus, während eine großformatige Arbeit auf der Außenwand der Apsis des Künstlerhauses den Einblick in das Innere des Ausstellungsraums offenbart. „The Sky Opens Twice" führt die Variabilität der Realität vor Augen, weist darauf hin, dass sich die Gegenwart – wenn auch nicht immer unmittelbar sichtbar – aus der Vergangenheit speist und lädt zum Dialog und zur Erweiterung des Horizonts ein. Die Hinterfragung des Verhältnisses zwischen Original und Kopie und die repetitive Anwendung verschiedener Reproduktionsverfahren bilden Peles Empires Programm. Die Künstlergruppe widmet sich seit über einem Jahrzehnt dem Spiel zwischen Ursprung und Wiederholung: Die historische Bildvorlage all ihrer Werke bilden Fotografien des Schlosses Peleș in der rumänischen Stadt Sinaia. Die aktuellen Skulpturen und Rauminstallationen verweisen meist jedoch nur noch vage auf ihren durch die zahlreiche Kopie fast schon unsichtbaren Ursprung. Die Verbindung von Ausstellungsort und eigenem Werk ist ein programmatisches Prinzip für Peles Empire, das fortlaufend umgesetzt wird. Im Wechselspiel zwischen Zwei- und Dreidimensionalität, Zitieren, Übertragen und Neukonnotieren eröffnet sich so mit jeder neuen Exposition auch eine neue Perspektive auf Vergangenheit und Gegenwart. Das Künstlerhaus findet in den Bildlegenden des Kollektivs gleich mehrfach Widerhall: Neben einer intensiven Abarbeitung am aktuellen Erscheinungsbild der Institution lassen sich auch Bildzitate aus der Gründungszeit des 1952 im Zeichen der weißen Moderne erbauten Prachtbaus in der Ausstellung entdecken. „The Sky Opens Twice“ (2019) ist der Titel der großformatigen und eigens für die Ausstellung konzipierten Installation in der Haupthalle der Institution und verweist zudem auf ein Blatt aus dem ersten Collagenroman von Max Ernst, „La femme 100 têtes“, aus dem Jahr 1929. Der Himmel über dem Künstlerhaus scheint sich dem Titel entsprechend zu öffnen, denn das Abbild der über 100 Quadratmeter großen Fensterdecke der Ausstellungshalle erstreckt sich nun auch über ihre Seitenwände. Das Quellmotiv der im Raum präsentierten Skulpturen aus Ming Porzellan, Ton, Jesmonite, Wachs, Styropor und Seil ist eine Fotografie, die eine Marmorsäule mit Löwenstatue im Schlossgarten Peleș zeigt. Beim längeren Betrachten des Sujets, welches auf der Einladungskarte zur Ausstellung abgedruckt ist, offenbart sich seine Absurdität: Das Nebeneinander von Gegenwart und Historie der Szenerie ist surreal und zugleich ein typisches Merkmal der Kunst von Peles Empire. Die prachtvolle Säule scheint als Kabelmast zweckentfremdet, stützt nichts mehr als bloß den Himmel. Peles Empire bilden das rumänische Historismusschloss auch immer wieder in ihrer Wahl von Methode und Material ab. Momente der Gleichzeitigkeit und des Gegenübers sind hierbei zentral. So referenzieren die Künstlerinnen gezielt immer wieder Verfahrenstechniken und Genres vergangener Jahrhunderte. Für „The Sky Opens Twice“ fertigte das Kollektiv in Anlehnung an die illusionistisch wirkende flämische Stilllebenmalerei des 17. und 18. Jahrhunderts ein monumentales Trompe l'Œil an, welches sich als Spiegelung der Fensterdecke über die Wände der Haupthalle des Künstlerhauses zieht. Eine Mixtur aus realen und reproduzierten Kunstwerken, ihren Entstehungs- und Präsentationsorten täuscht hier das menschliche Auge: Wie bei seinem historischen Vorbild, gibt der aus A3-Fotokopien zusammengesetzte Digitaldruck eine Dreidimensionalität vor, wo in der Realität kein Raum vorhanden ist. Das hierarchielose Nebeneinander der abgebildeten Materialien weitet den Blick des Betrachters über den Ausstellungsraum hinaus und lässt ihn in eine surreal anmutende Situation eintauchen, in der Geschichte nicht mehr linear gedacht wird. Die Ausstellung ermöglicht auch einen fiktiven Blick von Außen ins Innere der Grazer Kunstinstitution: Ein weiteres großformatiges Trompe l'Œil mit verzerrter Perspektive in die Ausstellungshalle ist auf der Außenseite der Apsis des Gebäudes aufgebracht. Auch wenn es sich hier wiederum um eine bildliche Illusion handelt, ist die implizierte einladende Geste von „The Sky Opens Twice“ durchaus ernst gemeint. Dem Werk von Peles Empire liegt das Zusammenkommen durch Kunst und das Begreifen der Ausstellung als gesellschaftlicher Diskursraum schon von Beginn an zugrunde. In der Apsis des Künstlerhauses rekonstruieren die Künstlerinnen deshalb eine Bar, die 2017 im Rahmen der Skulptur Projekte in Münster erstmals zu sehen war. Im Rahmenprogramm zur Grazer Ausstellung wird die Bar als Ort des Zusammenkommens für Künstler_innengespräche, Lectures, Screenings und Lesungen im Künstlerhaus fungieren. Peles Empire wurde 2005 in Frankfurt am Main gegründet und besteht aus Barbara Wolff (1980 Făgăraș, Rumänien, lebt in Berlin) und Katharina Stöver (1982 Gießen, lebt in Berlin). Die Künstlerinnen studierten beide an der Städelschule in Frankfurt bei Wolfgang Tillmans, Michael Krebber und Hermann Nitsch und an der Slade School of Fine Arts und den Royal Academy Schools in London. Als Peles Empire nehmen sie international an Ausstellungsprojekten teil, waren zuletzt u.a. im Modern One der Scottish National Gallery of Modern Art in Edinburgh (2019), im Neuen Berliner Kunstverein (2019), bei den Skulptur Projekten Münster (2017), im Kunstverein Hannover bei „PRODUKTION. Made in Germany Drei“ (2017) und dem Kunstverein Kassel (2017) zu sehen. Das Künstlerinnen-Duo betreibt neben ihrem eigenen künstlerischen Schaffen zudem seit mehr als einem Jahrzehnt einen Projektraum, in dem Ausstellungen und Veranstaltungen Menschen zusammenbringen. Der Space „Peles Empire“ hatte zeitweise Dependancen in London, Frankfurt, Berlin und der rumänischen Stadt Cluj.

artists & participants

Peles Empire,  Katharina Stöver,  Barbara Wolff 
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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

United States of Americashow map
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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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