daily recommended exhibitions

posted 29. Jan 2020

Jean-Marie Appriou. Seabed

29. Nov 201901. Mar 2020
venue: Consortium Museum Jean-Marie Appriou. Seabed 29.11.2019 - 01.03.2020 Opening: Friday, November 29, 2019, 6 PM Curated by Franck Gautherot O Lurçat, communist weaver from the Massif Central, may this rough slab originating from before the ages meet a brilliant future! O Lurçat, your roosters, your foliage, your arabesques, your standing figures, your Chant du Monde! O Lurçat, no less than two large wall tapestries were needed to set the Youth ball rolling! Consortium Museum, Dijon. The whippersnappers have become these new masters, experts in virtuosity, in express deliveries, in assumed power, in career plans––in those quarries from which cubes, metamorphic limestone plates with salient veins are extracted, with their iridescent shimmers... There is a new small population of Y.T.J. (younger than the Jesus!) that came center stage, paying tribute to craftsmanship, to the labors of the foundry, to modeling, to etching, to clay and enamel. This is where Jean-Marie Appriou stands. O Lurçat, so similar to Léger the builder: an arrogant introduction sets the bar as high as a gold medal, and then unfolds the cohort of the 26 pieces in the exhibition (23 of which are new artworks unveiled for the occasion), adorned anew with micro-narratives and recurring characters: here is the Astronaut, here is the Beekeeper... Are they coming straight out of Rudolph Dirks’s Katzenjammer Kids? The Captain and the Astronaut. King Bongo: he is the artist, the extremely smart and nimble island aboriginal who can dress up as an animal or as a plant. He knows the language of animals, and escapes on his domesticated stork. I am the Astronomer, long white beard and top hat... All of this to say that everything here comes from a long way away. Finistère Nord, peasants turned proletarians, unionized foundry workers at the Brest shipyards; Art Deco and its academic, modernist statues that don’t meet the eyes anymore, too high up as they are clinging to our city hall belfries or to suburban concrete churches: these are an accelerator for today! O Sarrabezolles, you who carved directly on setting concrete, perched on blasted, rickety scaffolds, forty meters above the ground, your laborers arranged like a surrounding choir! In 1926 in Villemomble, he experimented for the first time with this daring technique that doesn’t permit any post editing, carving more than twenty sculptures over sixty-three days for the Saint-Louis church belfry. O Lurçat: an ode to labor among electric rapscallions (let’s recall the Manifeste électrique aux paupières de jupes [Electric Manifesto with Skirt Eyelids] signed by Michel Bulteau and Matthieu Messagier... in 1971), handily experienced with sculpture’s drills. O, Alfred-Auguste Janniot, here I am taking over: at the 1925 International Exhibition of Modern Decorative and Industrial Arts, for Jacques-Émile Ruhlmann’s Hôtel du Collectionneur, he made a sculpture representing a group of three muses, paying homage to Jean Goujon; at the Curie intersection in Paris, he created the pediment for a double building by Joseph Marrast (À La Gloire de la Seine, 1932); at the Palais de la Porte Dorée in Paris, the shamefulness of colonization is rendered in magnificent bas-reliefs (Paris Colonial Exhibition, 1931); and then there is the Palais de Tokyo (1937 World’s Fair), and all the other Houses of the Republic commissioned for the glory of Worlds’ Fairs. The foundry, the deliciously old-fashioned or invariant studio, ever since the eons of cave painting. O Lurçat, sweet Stalinist with your loaded wool: a new example for our youth escaping from the art factories, confronting the ... organic market on Saint-Germain-des-Prés on Sundays. Binaries are in our DNA, whether we are talking about jeans, which are sometimes skinny, sometimes bell-bottomed; or about waiting rooms in 2000s Chinese train stations, that ranged from softness (the comfortable moleskin bench seats in first class) to stiffness (the wooden benches for the labor class); as for sculpture this dual scansion is not lacking: is it smooth, as with antique or Maillol sculptures, or is it the abstract, rough type, as with Reg Butler or Etienne-Martin? ... the kind of sculpture that has you itching to turn back to figures and to narratives. Appriou has grabbed the green side of the Scotch Brite scrubber, the one that scratches wandering hands going astray on touch, on contact. The type of sculpture that has you itching for something, as with Picasso’s bewitching, engraved concrete sculptures––he was sought out by Carl Nesjar for commissions in Norway; together they perfected the technique. Art is still something to take a stand on, confronted with an inert matter, or on the contrary with a matter traversed with land movements, a manual practice––which is not a working-class glorification of labor––connected to all these critters, particles and brain nodes. Happy culture. The Beekeper, the Astronaut with his blown glass helmet screwed over his head, the dinosaurs, the birds with their elongated beaks searching for worms in the mud ... Jonas and Ophelia. Art needs new geographies, to get accustomed to immemorial gestures. These places are harsh grounds for the Resistance, and for French May 1968 dropouts to let loose and raise goats. There, you can find potters wheeling clay, enamellers and foundry masters. From the Vercors, once the Massif Central has been left behind for the Alps, remains the harshness of the windy high plateaus with their bloodstained legends and massacres. The Cévennes mountain ridges, like parallel bars to narrow peaks, have for advantage to get some sun, and the same arrogance as mountain people who have gotten into the habit of looking down with hawk eyes on the valley down below, that has maybe remained Roman Catholic. Appriou’s art has a matte aspect, gray as aluminum, terse and thorny. Today, it expands toward prior forays into ceramics, which befits celadon and ultramarine glazes––bas-relief––with glass blown inside a mold, with copper engravings, with cast bronze––also bas-relief––which also befits a moonlike or swamp-like verdigris patina... Appriou’s art has you itching for another look––to have it founded and anchored if needed––at the forgotten animations of cities’ downtown bas-reliefs, at the floral ornamentations, at the useful and pompous symbolisms of bridges thrown over a main river, at funerary sculptures inside cemeteries, at tombstones with their famed recumbent effigies, whose bulge at the groin is worn out after having been polished by so many devout hands! Appriou’s art incites desire, has you itching for something else. To have another look, to see more, to see again previous sculptures and to display them on an oriented axis, to find kinships or cousinhood for them, to see them flirting with old and new, with his peers’ contemporaneity––whether we should be compelled to do so is not certain. Appriou enjoys tackling everything, for anyone who will kindly bring an offer in his purview: a public commission for the Rennes train station, a bid for another decorative commission for a prestigious elite French school... With seriousness and brio, the artist takes up a commission for a place that is for the public, for open air, for a dense city that lampoons the art of public bidding, arguing about the frequent inanity of such situations and commissions, as with the recent unveiling of a group of three monumental sculptures for Central Park South in New York initiated by the Public Art Fund. Three cast aluminum horses are placed directly on the ground, facing the military gilded equestrian statue of General William Tecumseh Sherman, a tangent to the tourist horse-drawn carriages. Nothing can stop the young guard. ––Franck Gautherot
Consortium Dijon

LE CONSORTIUM / L´USINE | 37 rue de Longvic
21 000 Dijon

Franceshow map
show more
posted 28. Jan 2020

Koen Delaere. NUDES

25. Jan 202029. Feb 2020
opening: 25. Jan 2020 05:00 pm
Koen Delaere. NUDES 25.01.2020 - 29.02.2020 Opening: Saturday 25 January, 17-19 h. Gerhard Hofland is proud to present NUDES, a solo show by Koen Delaere (1970, BE) with all new work. Koen Delaere is known for his highly structured and rhythmic paintings. The physical act of painting, as well as the physical presence of the painting that almost becomes a sculpture through its materiality, are an obvious trait of his work. Now the notion of corporeality is added as a vantage point for a visual language of physical experience. For the last four years, Delaere’s studio practice could be defined as ‘looking out’, meaning that the paintings he made in his studio all referred to an experience that had taken place outside the studio, like travelling to the desert of Nevada, or visiting a concert of bands like Oneohtrix Point Never and Cocaine Piss. This time Delaere has taken the confined space of his studio, that is almost like a cell, as a starting point and set out to deconstruct his practice by using different tools and formats, making false starts and multiple beginnings, erasing or doubling his actions. ‘To force a false start to try and reach ‘new truth’, to expose myself to myself and take it from there, cannibalizing my own work, using new patterns to invent new strategies, to sabotage and destroy the painting I know. What interests me is the physical handling of the idea, the execution as a physical experience. To cut through the ego, to work and get your hands dirty, to make mistakes and transform them into something that has potential. Meaning is revealed in practical concerns and the consequences in choices. Recording physicality. Beginning with a blank canvas, facing the void. Going beyond thinking, anti-design, a structure against which to work. You start to wonder what a body is, submitting yourself to this, and exploring absolute personal freedom within this. Focusing on myself in the studio, I became extremely aware of life outside the studio. As a reversed dialectic so to say. Standing with my ‘back to the world’ I became very aware of the world. It would be too simple to regard the studio as a safe haven from the outside clutter of society. To take a naïve autonomy for granted. A single Hellfire missile costs $100.000. Soon microbes will be created that convert corn into plastic. (Lidia Yuknavitch – The Book of Joan). But fuck your fear. There is still room for painting.’ Koen Delaere (1970, BE) studied fine arts at Academie voor Beeldende Vorming in Tilburg. In 2006 he won the Wolvecamp price. Delaere’s work was shown in Los Angeles, New York and Brussels and recently in Stockholm, Sao Paolo, Abu Dhabi and Munich. His work is part of various international renowned public collections, such as Centraal Museum Utrecht, Vleeshal Middelburg and CCA Andratx, Mallorca (ES), and esteemed corporate collections such as ABN Amro Bank, Rabobank and Akzo Nobel, as well as private collections in the United States, Brazil, Germany, Switzerland and Japan.

artist

Koen Delaere 
Gerhard Hofland, Amsterdam

Bilderdijkstraat 165-c
NL-1053 KP Amsterdam

Netherlandsshow map
show more
posted 27. Jan 2020

SOL CALERO. Pasaje del olvido

08. Nov 201930. Jan 2020
SOL CALERO. Pasaje del olvido 08.11.2019 - 11.01.2019 Opening with the artist Thursday, November 7, 2019, 7-29 pm Exhibition talk 19:30 with Sol Calero and Stephanie Weber, curator of contemporary art, Städtische Galerie im Lenbachhaus Pasaje del olvido presents a continuation of Sol Calero’s recent body of work, immersed in the notion of memory and its place in the act of painting. In her trajectory, Calero has questioned the idea of projection in many different ways: how do cultures imagine and present themselves? How do we see and describe others? What expectations do we have of places and societies labelled as exotic? Memories are not just recollections of the past, but also projections of what we have built that past to be. It may be idealized, it may be exaggerated, maybe suppressed; but it is always an abstraction. Sometimes memory fails us, and our reminiscence isn’t linear and complete, but fragmented and contrasted in intensity. Personal memory is anchored in sensorial experiences, impactful events, and emotional magnitude, so the images that result in the narrative of that memory have the same kind of texture. In Calero’s new paintings, this tonality has taken over: the elements coexist in different kinds of scale and hierarchy, while backgrounds, figures and patterns are juxtaposed in a sort of irrational harmony. Amongst snakes, dominoes, landscape bubbles, floral wallpaper and pieces of furniture, her images appear as blurry but detailed accounts of a dream. Both personal and collective memories tend towards a narrative of self-explanation that creates identity; in the case of common pasts, it turns into historical narrative. In the Latin American context, memory is a key element in the understanding and the articulation of colonial legacies. For many cultures, oral transmission has been the only channel for passing on traditions and practices that have been left out of the canonized version of History. In rapidly changing environments with violent and volatile situations like Venezuela, personal history and collective memory become the only alternative to mainstream discourses driven by political agendas. In this way, the personal memories that are inherited within a family and live on through people represent a way of telling stories that defy institutionalized and mediatized narratives. Throughout her paintings and installations, Calero has created a visual vocabulary that isn’t representing one particular experience, but embodying how collective thought turns complex realities into cleanly outlined icons. In her work, paintings are like souvenirs, an abstract memory of a larger environment encapsulated in an object. In this new period, Calero circles back to familiar documents and personal archives to rescue memories from oblivion and present a domestic yet oneiric universe of exuberant semblance and diffused boundaries. Sira Pizà Sol Calero *1982 in Caracas, Venezuela, lives and works in Berlin. For 2019/2020 Calero was granted a residency at Villa Arson, France. In 2019 she was nominated for the Prix Jean-François Prat, Paris and in 2017 she received a nomination for the Preis der Nationalgalerie, Berlin. Selected exhibitions: Villa Arson, Nice (2020); La Casa Encendida, Madrid (2019); Kunsthal Extra City, Antwerpen (2019), Tate Liverpool (2019), Kunstverein Düsseldorf (2018); Museum Boijmans van Beuningen, Rotterdam (2018); Kunsthalle Lissabon (2018); Brücke Museum, Berlin (2018); Preis der Nationalgalerie - Hamburger Bahnhof Museum, Berlin (2017); Kunstpalais Erlangen (2017); Dortmunder Kunstverein (2017); Kunsthaus Bregenz (2016).

artist

Sol Calero 
Barbara Gross Galerie, München

Theresienstrasse 56 Hof 1
80333 Munich

Germanyshow map
show more

posted 26. Jan 2020

Goldin+Senneby - Insurgency of Life

06. Dec 201908. Feb 2020
Goldin+Senneby Insurgency of Life December 6, 2019–February 8, 2020 Opening: December 6, 6:30pm, with artist talk at 7pm You remember it as a stressful period. You had started a new job and your relationship was out of balance. Your partner had left for France and communication was difficult. You travelled to Paris so you could talk. Your left foot went stiff. Part of your abdomen went stiff, just around the solar plexus. Actually maybe more numb than stiff. The kind of numb, tingling sensation that you can have when your arm falls asleep. The pins and needles sensation. For a moment you can’t locate your arm. You can’t move it. Only this time the moment of numbness, of paresthesia, was extended. It went on too long. Your foot was numb. Your solar plexus was numb. And it wouldn’t go away. You assumed it was psychological. Related to stress. The emotional stress of your crumbling relationship. Insurgency of Life is a retrospective of sorts. A retrospective of a condition. And of dependencies and relationships. Rather than exhibiting a collection of existing artworks, Goldin+Senneby have drawn on bodily experiences from the 15 years that they have worked together, experiences that have shaped both their artistic and life decisions while remaining largely invisible in their artistic output. These experiences concern living with an autoimmune condition—multiple sclerosis or MS—and what that has meant for their joint subjectivity. The exhibition is also a retrospective of an evolving network of collaborators and collaborations the artists’ work has always depended upon. In the gallery, a fountain for cultivating fungi is surrounded by ten Lego robots, each continuously thrusting a mobile phone. Both the fungi and the phone-shaking robots are part of a complex set of dependencies—an open system of care and extraction. The Lego robots are “DIY pedometer cheating machines.” Built using YouTube tutorials posted by patients, the robots continuously trick their smartphone step counter into meeting activity quotas required by insurance companies seeking to harvest patient data. The fungus cultivated in the gallery grows on nutritional agar, but in the wild it lives off cicadas. The spores attach to the cicadas underground, colonize the nymphs, overwhelm them, and eventually sprout out of their heads like miniature cauliflowers. For centuries this fungus has been used in traditional Chinese medicine as an eternal youth nostrum. More recently, its active substance has been patented by the pharmaceutical multinational Novartis as the first pill to treat MS. Around the time of the exhibition, Apple is set to launch a new health research platform with the slogan “The future of health research is you!” But as any patient in a medical trial knows, it’s never about you. “You” are only the anonymous host of a condition, and this condition is the real subject of study and potential commercialization. It is often said that you become what you eat. But as you swallow the pill, you are unsure if you are becoming more like the fungi of eternal youth, or indeed, the cicada whose head is about to sprout. With Anna Heymowska (set designer), Hans Hertz (X-ray physicist), Johan Hjerpe (graphic designer), Ellen Jorgensen (molecular biologist), Ross McBee (biologist), Craig Trester (mycologist), Zhala (musician), Lego Pedometer Cheating Machine (sourced from YouTube) Respondent: Brian Kuan Wood Curated by Maria Lind

curator

Maria Lind 
e-flux, New York

311 East Broadway
NY 10002 New York

United States of Americashow map
show more

posted 25. Jan 2020

1937 - 2017: Von Entarteter Kunst zu Entstellter Kunst

16. Dec 201931. Jan 2020
opening: 16. Dec 2019 06:00 pm
HGB Galerie Wächterstraße 11 04107 Leipzig www.hgb-leipzig.de/einrichtungen/galerie 1937 - 2017: Von Entarteter Kunst zu Entstellter Kunst 16.12.2019 – 31.01.2020 Eröffnung: 16.12.2019, 18:00 Uhr mit Einführung von Adam Szymczyk Öffentlicher Vortrag/Workshop: 22. – 24.01.2020 Dorota Sajewska, Artur Żmijewski Den Auftakt zum 40-jährigen Jubiläum der HGB-Galerie bildet das Ausstellungsprojekt „1937 – 2017: Von Entarteter Kunst zu Entstellter Kunst”. Ein Projekt von Felix Almes, Sophia Eisenhut, Tobias Fabek, Marc-Anton Gnädinger, Julie Hart, Christian Kölbl, Ilse Lafer, Oscar Lebeck, Adrian Lück, Benedict Reinhold, Jonas Roßmeißl, Carsten Saeger, Andrėja Šaltytė, Ramona Schacht, Johanna Maj Schmidt, Stephen Stahn, Adam Szymczyk, Kilian Schellbach, Jens-Martin Triebel, Matteo Visentin, Arthur Zalewski und der Teilnahme von Frankfurter Hauptschule, Eiko Grimberg, Frank Holbein, Susanne Kontny, Henrike Naumann, Olu Oguibe, Charlotte Ruppert, Dorota Sajewska, Robin Stretz, Artur Żmijewski Auszug aus dem Statement von Adam Szymczyk: „Ich wurde 2018 von Ilse Lafer eingeladen, ein Seminarkonzept an der HGB Leipzig vorzuschlagen. Als Antwort auf diese Einladung habe ich den Studierenden einen Vorschlag unterbreitet, der eine Brücke schlägt vom Sprach- und Bildgebrauch im öffentlichen Raum der Nazizeit zu aktuellen sozio-politischen und ästhetischen Diskursen. Anlass für die Themenwahl des Seminars sind die Ereignisse und Debatten, die zur Entfernung von Olu Oguibes ‚Denkmal für Fremde und Flüchtlinge‘, dem so genannten Obelisken mit dem Satz ‚Ich war ein Fremdling und ihr habt mich beherbergt‘, viersprachig auf deren vier Seiten wiederholt, vom ursprünglichen Standort, dem Königsplatz in Kassel, wo er als Beitrag des Künstlers zur documenta 14 (2017) errichtet wurde. Die Beseitigung des Obelisken von dem vom Künstler gewählten Platz und sein Umzug an einen anderen, von der Gemeinde vorgeschlagenen, Ort wurden in einem demokratischen Prozess genehmigt, an dem der Künstler, der amtierende Oberbürgermeister, der Kulturausschuss und die Stadtverordneten der Stadt Kassel beteiligt waren, während die Medien zu jedem Detail dieses Falls Bericht erstatteten. Im Vorfeld dieser Debatte wurde der Satz ‚entstellte Kunst‘, der auf die berüchtigte ‚entartete Kunst‘-Prägung der Nazis beziehbar ist, 2017 von einem hessischen AfD-Mitglied bewusst verwendet, um Oguibes Werk und andere künstlerische Arbeiten in der documenta 14 zu beschreiben. Dieser Satz forderte eine Antwort. Ein einjähriges Seminar begann, das für Studierende aller Klassen an der HGB Leipzig offen war, und von Ilse Lafer, Kilian Schellbach und Arthur Zalewski begleitet wurde. Die Ausstellung ‚1937 – 2017: Von Entarteter Kunst zu Entstellter Kunst‘ ist ein mögliches Ergebnis daraus. Sie beschäftigt sich mit der Erforschung historischer und zeitgenössischer Sprachen und mit Bildern nationalistischer, fremdenfeindlicher und reaktionärer politischer Parteien und sozialer Gruppierungen. Die in diesem Jahr entstandenen, und in der Ausstellung präsentierten Werkkomplexe versuchen eine Antwort auf die Gewalt im normativen Sprachgebrauch zu verkörpern. Werke und diskursive Interventionen von eingeladenen Gästen, darunter Olu Oguibe, Henrike Naumann, Dorota Sajewska und Artur Żmijewski, sind Teil des Lernprozesses und teilweise in der Ausstellung präsent. Die Frage nach der ‚Norm‘ wird hier zum Thema, um eine Konstruktion zu stören, in der das ‚Normale‘ über das als ‚entartet‘ oder ‚entstellt‘ Bezeichnete herrscht: über die neue schöne Welt ohne Fremde.“Diese Form der Kollektiven, experimentellen Ausstellungspraxis zeigt zugleich den Kurs für das 40-jährige Jubiläum der Galerie an: Geplant ist, den Galerieraum für ein Jahr von seiner klassischen Repräsentationsfunktion zu entkoppeln, und ihn primär als einen „Ort der gemeinsamen Arbeit am Inhalt“ zu begreifen. Demgemäß steht das kommende Jahr in vielfältiger Weise unter dem Vorzeichen der künstlerischen Forschung: Es ist eine Zusammenarbeit mit der neuen Gesellschaft für bildende Kunst (nGbK Berlin) sowie der Gesellschaft für künstlerische Forschung, Deutschland in Planung. Zugleich sollen die institutionellen wie auch infrastrukturellen Bedingungen des Ausstellens und Zeigens durch eine Ausstellungsserie mit dem Arbeitstitel „How to make/ de-make/ re-make an institution“ (Institut für Alles Mögliche) untersucht werden. Ein Schwerpunkt dieser Serie gilt dem Archivieren, der zugleich Anlass gibt, das neue, 40 Jahre umfassende, digitale Galeriearchiv öffentlich zu präsentieren. Darüber hinaus liefert dieses Jahr den idealen Startpunkt für „Ausstellen als künstlerische Form“, das Studierende dazu einlädt eigene Ausstellungsprojekte zu entwicklen. Eröffnung: 16.12.2019, 18:00 Uhr mit Einführung von Adam Szymczyk Öffentlicher Vortrag/Workshop: 22. – 24.01.2020 Dorota Sajewska, Artur Żmijewski Mit Unterstützung des Support-Büros der HGB.

curator

Ilse Lafer 
show more
posted 24. Jan 2020

Driant Zeneli. In an Attempt to Get Up

19. Dec 201931. Jan 2020
Driant Zeneli. In an Attempt to Get Up 19.12.2019 - 31.01.2020 Artist talk: January 25, 5–7pm Kino Armata The National Gallery of Kosovo presents In an attempt to get up, the major museum solo exhibition of Driant Zeneli, an Albanian artist (1983, Shkodër). Through film, video installations and performance, Driant Zeneli's work investigates the notions of attempt, failure, dream and utopia as elements that engender alternative perspectives. The exhibition operates from Zeneli’s profound attraction to illusion: a sense of magic inherited from childhood and esthetic parameter, as well as a critical tool to embrace the complexity unfolded by the way reality and fiction meet. Starting from the "trompe l'œil" effect connecting Zeneli—the post-communist conceptual filmmaker- to his father—the communist portraitist- but also Albania and Kosovo, flying and falling, Zeneli works at dismantling the illusion effects to engage with the gap left between the imaginary and the real. Entitled No wise fish would escape without flying, 2019, Zeneli's new film proceeds with contradiction. As usual, Zeneli starts from a supposedly fictional representation of the fish—the flying fish—and unpacks the multiple possibilities embedded in such chiasma effect. The film has been realized in collaboration with children from Bonevet, a non-profit organization from Prishtina whose activities primarily deal with technological experimentation, electronics, robotics... The National Library, the most iconic symbol of Kosovo, acts as the background of the plot. A myth as well as a technological experiment, Zeneli's project, therefore, interrogates our relationship to intuitive knowledge and both transgenerational and transhistorical collaborative learning processes As in many other works, Zeneli claims for a collective approach. Challenging the position of the artist as self-reliant, he reveals how encounters become the necessary means to challenge and change our perceptions, limits and desires, in order to keep producing both handmade and technological, past and present stories. Driant Zeneli (1983, Shkodër, Albania), lives between Milan and Tirana. In 2019 he represented the Albanian Pavilion at the 58th Venice Biennale. In 2017 he won the MOROSO Prize and in 2009 the Young European Artist Award Trieste Contemporanea. He is the co-founder of Harabel Contemporary Art Platform, Tirana. His works have been exhibited at: the 58th Venice Biennale (2019); GAMEC, Museum of Modern and Contemporary Art, Bergamo (2019); Passerelle, Centre d’Art Contemporain, Brest (2018); Mostyn Gallery, Wales (2017); MuCEM, Marseille (2016); Academie de France à Roma (2016); Centre Pompidou, Paris (2016); IV Bienal del Fin del Mundo, Chile (2015); GAM, Museum of Modern and Contemporary Art Turin (2013); KCCC, Klaipeda, Lithuania (2013); ZKM, Karlsruhe (2012); MUSAC, Castilla León (2012); Prague Biennale 5, Prague (2011). Driant Zeneli's In an attempt to get up is co-curated by Claudia Buizza, an independent curator based in Paris and Alicia Knock, a curator at Centre Pompidou, Paris. Main supporter: Ministry of Culture, Youth and Sport - Kosovo Supported by: National Library of Kosovo / BONEVET - Pristina / Kino Armata Sponsor: “Unë e Du Kosovën” Foundation, Pristina / Embassy of Italy, Prishtina / Italian Institute of Culture, Tirana / Embassy of France, Prishtina / prometeogallery di Ida Pisani, Milan / Seven Gravity Collection, Italy

artist

Driant Zeneli 
National Gallery of Kosovo, Pristina

Agim Ramadani, 60
10000 Pristina

Afghanistan
show map
show more

posted 23. Jan 2020

ETEL ADNAN. The uprising of colors

24. Jan 202011. Apr 2020
opening: 23. Jan 2020 05:00 pm
2020: 15 YEARS OF SFEIR-SEMLER GALLERY BEIRUT ETEL ADNAN. The uprising of colors 24.01.2020 - 11.04.2020 Opening: 23.01.2020 17:00 - 20:00 We are proud to announce the opening of ETEL ADNAN’s solo show in our Beirut space. Etel Adnan wished this exhibition as a splash of hope amidst the current severe political and economic crisis Lebanon is witnessing. With this in mind, the gallery has produced the show against all odds, a gesture of cultural resilience that is meant to contribute, on our modest scale, to the sustainability of the arts sector in Beirut. The title of the exhibition, The uprising of colors, therefore refers to art’s capacity to bring colors into a grim quotidian. Welcoming visitors in the entrance of the space, a wallpaper entitled “Le Soleil Toujours”, literally translated as “The Sun Always” depicts the shining star meant as a colorful sign of optimism. Similar to the process followed for her ceramic walls or billboards, the artist in this case has produced a drawing that was specifically meant to become a large-scale work. In the background, a reading of the Arab Apocalypse can be heard, as the original manuscript text scrolls on a screen: the iconic collection of poems first published in 1980 seems ever relevant, reflecting on Lebanon’s constant mutations and dislocation. While Etel Adnan’s writing often chronicles the harsh realities she witnesses, her visual work is always joyful, offering suspended moments of peace in a colorful universe. The exhibition proposes an overview of Etel Adnan’s multidimensional practice: her small format paintings fill the space; and with simple lines and colors, her compositions flow naturally, painted in one sitting with a knife palette. The spontaneous act results in work that is never contrived, and that radiates joy. A series of leporellos bridges between her writings and her visual art work: they unfold, filled with words alternating with abstract colors and shapes. The tapestries on show are recently produced, based on cartons from the 60s for some, and are handwoven in Aubusson in France. Tapestries are a medium of choice for Etel Adnan, ever since she discovered in the early 50s The Lady and the Unicorn, a series of six tapestries dating back to the 16th century. Later on, she visited the Wissa Wassef center in Harrania, Egypt and she was fascinated by the natural dying of the wool, and the representation of nature in those tapestries. She brings a traditional feminine activity into the contemporary realm, which allows her to play with the formats of her works. * Etel Adnan (b. 1925, Lebanon), lives and works in Paris. Adnan is widely recognized as one of the foremost authors, poets and playwrights of her generation. Widely known for her literary work, she fluidly moves between the disciplines of writing and art. Her paintings rose to prominence following their exhibition at dOCUMENTA 13 (2012); and she has had solo exhibitions at Mudam, Luxemburg (2019), SFMoMA, San Francisco (2018), Zentrum Paul Klee, Switzerland (2018), the Institut du Monde Arabe, Paris (2016), UNAM, Mexico City (2017), Serpentine Sackler Gallery, London (2016), Haus Konstruktiv, Zurich (2015), Museum der Moderne Salzburg, Austria (2014), and Mathaf, Doha (2014). As well as group exhibitions at Castello di Rivoli, Italy (2017), MoMa, New York (2017), Sharjah Biennial 12 (2015), the 14th Istanbul Biennial (2015), the Whitney Museum of Modern Art (2014). She has works in private collections as well as many public collections around the world such as MoMa, New York, Centre Pompidou, Paris, the San Francisco Museum of Modern Art, Kunstsammlung NRW, the Royal Jordanian Museum, LAM, Lille, Guggeneheim, Abu Dhabi, Mathaf, Qatar, the Sursock Museum in Beirut, the Institut du Monde Arabe in Paris, the British Museum in London, Kunsthaus Zurich, the National Museum for Women in the Arts, Washington D.C. Adnan also has tapestries in public spaces and private collections. Slides of her tapestries are in the permanent files of the Contemporary Crafts Museums of New York and Los Angeles

artist

Etel Adnan 
Sfeir-Semler Gallery, Beirut

Tannous Bldg. - 4th Fl. Str. 56 - Jisr Sector 77
Beirut

Lebanonshow map
show more
posted 22. Jan 2020

Bamako Encounters - African Biennale of Photography 2019/2020

30. Nov 201931. Jan 2020
Bamako Encounters - African Biennale of Photography 2019/2020 "Streams of Consciousness" 12th edition 30.11.2019 - 31.01.2020 Press and Professional Preview Days: November 30–December 3, 2019 The 12th edition of the Bamako Encounters - African Biennale of Photography—the singular photographic and lens-based art biennale on the African continent—will run in Bamako, Mali, from November 30, 2019 to January 31, 2020, celebrating its 25 years of existence since the first edition in 1994. Conceived by Artistic Director Bonaventure Soh Bejeng Ndikung and a curatorial team comprised of Aziza Harmel, Astrid Sokona Lepoultier and Kwasi Ohene-Ayeh, joined by artistic advisors Akinbode Akinbiyi, Seydou Camara and scenographer Cheick Diallo this edition is an invitation to think about the artistic practice of photography as a stream of consciousness, as well as to consider photography beyond the tight corset of the photographic. The moment of a snapshot emanates from a flow of thoughts and associations reflecting the photographer’s inner voice, which is unavoidably and constantly in motion. Titled Streams of Consciousness, after the eponymous 1977 record by Abdullah Ibrahim and Max Roach, the Biennale will employ multiple understandings of how such streams can be used as photographic tools. Tools that bridge the African continent with its various diasporas, in addition to conveying cultures and epistemologies. "Africa" has, after all, long ceased to be a concept limited to the geographical space called Africa. Africa as a planetary concept relates to people of African origin, the I & I, that are spread over the world in Asia, Oceania, Europe, the Americas and the African continent. The exhibition will apply the notion of the stream of consciousness as a metaphor for the flux of ideas, peoples, cultures that flow across and along with rivers like the Niger, Congo, Nile or Mississippi. This edition of the Biennale listens carefully to remoteness, invisible matters, hitherto erased voices and images, as well as celebrating politics and poetics of (in)animate ecosystems. It deliberates on the role of collectives in African photographic practices, and the possibility of collectively telling our own stories through images, arguing for the fact that in society we are not individuals, but dividuals: divisible entities that together make up a larger collective. In an effort to go beyond the frame of photography as a visual experience, this Biennale will engage with the textuality, the tangibility, the performativity and especially the sonicity of photography. The sonic properties of photography are envisioned as a stream of consciousness wherein the photographic and phonographic intersect. How can we understand the lyricism of the photographic in that space of cognitive flux? The stream in streams of consciousness is a spectrum that encompasses the conscious and unconscious and forms a space in which the notions of consciousness and unconsciousness collapse into each other. Roughly 85 artistic positions from the African art world have been invited to participate in the unraveling of Streams of Consciousness. Selected artists Ibrahim Ahmed, Nirveda Alleck, Emmanuelle Andrianjafy, Roger Anis, Yannick Anton, Afrane Akwasi Bediako, Jean-Pierre Bekolo, Jodi Bieber, Milena Scherezade Carranza Valcárcel, Cédrick-Isham, Nidhal Chamekh, Amsatou Diallo, Moustapha Diallo, Dickonet, Adji Fatou Amdy Dieye, Fakhri El Ghezal, Badr El Hammami, Yagazie Emezi, Theo Eshetu, Fototala King Massassy, Abrie Fourie, Rahima Gambo, Eric Gyamfi, Yasmina Hajji, Halima Haruna, Fanyana Hlabangane, Renée Holleman, Adama Jalloh, Maxime Jean-Baptiste, Amina Ayman Kadous, Mansour Ciss Kanakassy, Mouna Karray, Godelive Kabena Kasangati, Bouchra Khalili, Nicène Kossentini, Kitso Lynn Lelliott, Keli Safia Maksud, Harun Morrison & Helen Walker, Santiago Mostyn, Khalil Nemmaoui, Yvon Ngassam, Antoine Ngolke-do’o, Christian Nyampeta, Abraham Oghobase, Adeola Olagunju, Léonard Pongo, Nader Mohamed Saadallah, Amadou Diadié Samassékou, Mara Sanchez Renero, Ketaki Sheth, Buhlebezwe Siwani, Selasi Awusi Sosu, Mohamed Thara, Dustine Thierry, Boubakary Touré, Hamdia Traoré, Andrew Tshabangu, Guy Woueté Collectives Association des Femmes Photographes du Mali (AFPM), Collective 220, Iliso Labantu Photography Collective, Invisible Borders, Kamoinge, MFON: Women Photographers of the African Diaspora, The Otholith Group, Collectif Orchestre vide, Kolektif 2 Dimansyon (K2D) Solid Rocks Felicia Abban, Akinbode Akinbiyi, Jihan El Tahri, Armet Francis, Liz Johnson Artur, Deborah Lewis, Eustaquio Neves Special Projects Do you hear me calling? (video installation by Theaster Gates), Musow Ka Touma Sera (curated by Fatima Bocoum), Dja Tigui: L’hote de Mon Ombre (curated by Nakhana Diakite Prats), The Works of Tolu Odukoya 1945-2015 (curated by Uche James Iroha), Legends of the Casbah (curated by Riason Naidoo), À l'Est de Bamako (curated by Françoise Huguier), Five Photographers: A tribute to David Goldblatt (curated by John Fleetwood) In addition to the main exhibition, this anniversary edition of Bamako Encounters features a rich public program and film program. Several thematic exhibitions will also be on view during the Biennale’s run. The Bamako Encounters is accompanied by an extensive reader. Founded in 1994, the Biennale is organized by the Ministry of Culture of Mali with the support of the Institut Français. Since its inception, the Biennale has been the first and main international event dedicated to African photography and video on the continent, and remains an essential event for contemporary art. Lassana Igo Diarra, founder and Director of Galerie Medina (Mali) and Editions Balani's, is the General Delegate of the Bamako Encounters.
show more

posted 21. Jan 2020

William Kentridge - Why Should I Hesitate: Putting Drawings To Work

25. Aug 201923. Mar 2020
Why Should I Hesitate: Putting Drawings To Work 25 August 2019 - 23 March 2020 Why Should I Hesitate: Putting Drawings to Work is a major exhibition by internationally acclaimed artist, William Kentridge. The exhibition will be the largest exhibition held in Africa in over a decade and will be hosted simultaneously in two parts, alongside Norval Foundation‘s Why Should I Hesitate: Sculpture. Why Should I Hesitate: Putting Drawings To Work – at Zeitz MOCAA – will offer a wide survey of Kentridge’s work, including early works, as well as newer pieces on view for the first time in South Africa. It will cover over 40 years of artistic production (1976 – 2019) in drawing, stop-frame animation, video, prints, sculpture, tapestry, and large-scale installation. The title references Kentridge’s primary practice of drawing and how this core activity informs and enables his studio practice. It also references the impact of individual action on history and the reverse – how history shapes the contemporary and the future – and works as a commentary on various shifting hegemonies of power politics, economies, language and the authority to narrate history. Both exhibitions will include major works from Kentridge’s extensive oeuvre and will be accompanied by two new publications, conceived in collaboration between Zeitz MOCAA, Norval Foundation and the artist. The exhibitions will be accompanied by a series of talks and performances with the artist, and leading voices in the cultural sector. Artist: William Kentridge Curator: Azu Nwagbogu, assisted by Tammy Langtry, Curatorial Assistant
Zeitz MOCAA, Cape Town °

Zeitz MOCAA | Silo District, S Arm Road, V&A Waterfont
8002 Cape Town

South Africashow map
show more

posted 20. Jan 2020

Helmut Federte - Basics on Composition 1992 & 2019

09. Nov 201925. Jan 2020
Helmut Federte - Basics on Composition 1992 & 2019 Horizont der sieben Seen 09. Nov 2019 - 25. Jan 2020 Mit dem Werk „Liegendes H (1)“ ist Helmut Federle 1979 eine Bildfindung gelungen, die er in seiner Werkserie „Basics on Composition“ – vorwiegend 1992 entstanden – variiert hat. Jetzt, 2019, 40 Jahre nach dem ersten Bild, nahm er sie wieder auf. Das in seiner New Yorker Zeit entstandene Werk, das den ersten Buchstaben seines Vornamens zur Grundform hat, erlangte im Lauf seines Schaffens gleichsam ikonischen Charakter und kommt offenbar nicht zur Ruhe. Federles Wiederaufnahme der Serie in diesem Jahr ist Anlass zu unserer gegenwärtigen Ausstellung. Die aktuellen „Basics on Composition“ markieren den Beginn einer malerischen Schaffensphase nach 5-jähriger Unterbrechung. Mit seinen „Basics on Composition“ greift Helmut Federle die Tradition der geometrischen Abstraktion auf, erneuert und erweitert sie – als ein spannungsgeladenes Forschungsfeld für das Verhältnis von Figur und Grund zwischen Ordnung und Unordnung, zwischen Bewegung und Stille. Die Balken des „Liegenden H“s und die beiden Quadrate, die sich links und rechts daraus als offene Enden ergeben, werden zu individualisierten, gleichwertigen geometrischen Flächen, die die traditionelle Figur/Grundbeziehung immer wieder umkehren und eine Balance und Geschlossenheit verweigern. „Federle hat das Quadrat, dessen feste Form, destabilisiert und zu etwas gemacht, was keine Autorität mehr verkörpert. Seine Quadrate werden von den Beziehungen zu ihrer Umgebung definiert. Seine Kompositionen sind entschieden nicht-hierarchisch […]“ (John Yau, 1993) Viele seiner „Basics on Composition“ sind mit Untertiteln oder Widmungen versehen. Sie führen nicht zum Inhalt der Bilder, wohl aber als Assoziation und Anregung zum Kosmos von Federles lebensweltlicher Auseinandersetzung, die sein Werk begleitet und bestimmt. Es sind Widmungen an Momente einer Reise nach Japan, an amerikanische Täufersekten, an die indianischen Navajos, japanische Schwertkämpfer, Teemeister, oder eben ganz profan ein Hühnerstall als Konterpunkt zu etwaiger Erhabenheit. Der „Horizont der sieben Seen“ birgt mannigfache Empfindungen.
show more
posted 19. Jan 2020

Blinky Palermo. Die Editionen

18. Jan 202003. May 2020
Blinky Palermo. Die Editionen Schenkung Ulrich Reininghaus 18. Januar–3. Mai 2020 Der deutsche Künstler Peter Heisterkamp (1943–1977), der sich nach dem Mafioso Frank „Blinky“ Palermo nannte, ist bekannt für seine Objekte, für seine Raumarbeiten, vor allem aber für die leuchtenden Farbfelder seiner Stoff- und Metallbilder, die vermeintlich unmittelbar vor Augen führen, was sie konzeptuell in Frage stellen: die sinnlichen Qualitäten zeitgenössischer Malerei. Weniger bekannt, aber nicht minder klug und anregend sind Werke, die in Auflagen erschienen sind: Sieb- und Offsetdrucke, Lithografien, Objekte und eine Schablone zum Selbstmalen. Palermo hat diese Editionen während nahezu seiner gesamten Laufbahn angefertigt. In ihnen spiegelt sich nicht nur seine Entwicklung von den Sechzigerjahren bis zu seinem frühen Tod 1977, mit ihnen hat er sein Werk bewusst erweitert. Im Medium der Reproduktion hat Palermo eine seiner Grundfragen radikalisiert: den Zweifel an Bild und Werk und die Reflexion industrieller Form- und Farbgebung im künstlerischen Nachvollzug. Der abstrakte Gehalt, die Zeichenhaftigkeit einer konkreten Form – von Anfang an Palermos Thema – tritt im Druck noch deutlicher hervor. Zugleich bewahren die Editionen auch den Realitätsgehalt der Zeichen, ihre Stofflichkeit: Reproduziert wird, was der Künstler sorgfältig konzipiert und oft noch während der Herstellung von Hand bearbeitet hat. Palermo hat die Technik der seriellen Fertigung genutzt, um den Statuswandel der Kunst (und das heißt auch: seines eigenen Werks) im technischen Zeitalter zu bestimmen: Das zu zeigen ist das Ziel der Ausstellung. Dank einer Schenkung des Kölner Sammlers Ulrich Reininghaus besitzt das Museum– als einzige öffentliche Institution – seit 2018 eine vollständige Sammlung von Palermos Editionen. Nun wird diese Sammlung zum ersten Mal präsentiert. Im Zuge der Vorbereitungen wurde sie wissenschaftlich aufgearbeitet, der Ausstellungskatalog dokumentiert die Ergebnisse: Er enthält eine aktualisierte Fassung des vergriffenen Werkverzeichnisses Die gesamte Grafik und alle Auflagenobjekte 1966 bis 1975, das der Münchener Galerist und Verleger Fred Jahn 1983 herausgegeben hat.
Museum Ludwig Köln

Bischofsgartenstr. 1
50667 Cologne

Germanyshow map
show more
posted 18. Jan 2020

France-Lise McGurn: In Emotia

18. Jan 202022. Mar 2020
France-Lise McGurn: In Emotia 18.01.2020 - 22.03.2020 France-Lise McGurn (born 1983) is a Glasgow-based artist who predominantly works with painting to create layered installations that incorporate the gallery walls, floors and ceilings. "In Emotia" is a derivative term which suggests a state of being, simultaneously emotional and in motion. Mcgurn’s figurative painting and wall drawings evoke bodies and limbs overlapping and interacting in ambivalent spaces, at parties, in night clubs, on streets or lying in bed either side of paper thin walls. Cities and bodies, are constantly moving and shaping each other, a sentiment which McGurn evokes through the shifting forms and gestures of her metropolitan figures. Often the works themselves overlap from canvas to wall to floor, creating energetic compositions which suggest intimacy, ecstasy, sexuality, violence and loss. Working intuitively rather than through direct appropriation, McGurn uses swift brushstrokes and repeated marks to create loose associations about place and relationships, inviting viewers to conjure their own narratives. For Tramway, McGurn takes this process one step further, translating the fluid lines of her paintings into sculptural forms fabricated from neon. A series of new mobile sculptures will shimmer and turn in the space, constantly rearranging themselves to create new narratives and configurations. Her work has been featured in Art Now at Tate Britain, Extensa Suite, Hospitalfield, Arbroath, 2018, Virginia Woolf, an exhibition inspired by her writings 2017–18, Tate St Ives, Pallant House, Chichester, and the Fitzwilliam Museum, Cambridge. France-Lise McGurn is represented by Simon lee gallery. This exhibition is generously supported Simon Lee Gallery
Tramway Glasgow °

TRAMWAY | 25 Albert Drive
G41 2PE Glasgow

United Kingdom of Great Britain and Northern Irelandshow map
show more


posted 17. Jan 2020

Taipei Dangdai 2020

17. Jan 202019. Jan 2020
Taipei Dangdai 2020 Taipei’s global art fair 17.01.2020 - 19.01.2020 Taipei Dangdai is Taipei’s global art fair and the most diverse gathering of local and international galleries in Taiwan. The second edition takes place at Taipei Nangang Exhibition Center from 17-19 January 2020 (VIP Preview 16 January). Taipei Dangdai will return to kickstart the art world calendar, featuring a world-class line up of galleries from around the globe, selected via a rigorous application process overseen by a committee of international gallerists. Presented by UBS, and having attracted over 28,000 visitors in 2019, the event brings together a selection of the world’s leading galleries and artists alongside influential thinkers from a wide range of disciplines, including archaeology, art history and technology. Taipei Dangdai celebrates the city’s unique and dynamic art scene, while highlighting global creativity and the increasing importance of the wider art market in Asia.
Taipei Dangdai

Taipei Nangang Exhibition Center | No. 1, Jingmao 2nd Road, Nangang District
Taipei City

Taiwan, Province of Chinashow map
show more
posted 16. Jan 2020

Statement #08: Stefan Riebel — Performing an Artspace

16. Jan 202016. Jan 2020
opening: 16. Jan 2020 02:00 pm
Statement #08 Stefan Riebel — Performing an Artspace Performance, January 16, 2020, 2 pm – 8 pm With students of the Academy of Fine Art Leipzig Performance, January 16, 2020, 2 pm – 8 pm With students of the Academy of Fine Art Leipzig The Kunstraum Lakeside is designed to be a place of production and presentation of contemporary international art with the aim of promoting critical discussion of socially relevant aspects of the economy. The space operates within the fascinating triangle of business, academic and cultural forms of discourse. What happens to the imagination of viewers when there is an intervention within existing systems of order and institutional expectations like those of the Kunstraum Lakeside? How can relationships be reflected in such a context and individual perspectives changed? The aim of Stefan Riebel’s Performing an Artspace is to question the wider context and construct of general social realities via artistic-spatial practices. Is a chair within the Kunstraum an object of art? Is window cleaning a performance? Does painting a wall have anything to do with painting as an art form? Does inclusion of a video projector amount to technological mediation work? Does entering the Kunstraum constitute a performative act? In collaboration with students of the Hochschule für Grafik und Buchkunst Leipzig (Leipzig Academy of Fine Arts), Stefan Riebel explores the project rooms and puts their operation and underlying operating system up for discussion as artistic activity. As part of his research work Project Space Practice, Stefan Riebel in Klagenfurt puts the Kunstraum Lakeside under the microscope in order to draw attention to the special nature of the setting of this artspace within a Science and Technology Park. The interplay of audience, intervention and context is the starting point of the artistic event, which is a temporary arrangement and thus as ephemeral as it is unique. Through a series of performative acts, fleeting interventions and marginal installations, the space is tested in its specific capacity as a “Kunstraum” (an “Artspace”). The joint focus of attention is on the people working at the Kunstraum Lakeside in their role as employees and equally on the function of furniture and fittings, or the infrastructure of Lakeside Park itself. A laboratory situation within the Kunstraum provides an opportunity to pursue such specific institutional questions on site and in dialogue with the public. All of the processes involved are documented by Stefan Riebel and the students and put up for discussion at an open work meeting. Stefan Riebel (*1982 in the former GDR) lives and works in Berlin and Leipzig. www.stefanriebel.de www.project-space-practice.net

artist

Stefan Riebel 
Kunstraum Lakeside, Klagenfurt

Lakeside Science & Technology Park, Lakeside B02 (Eingang EG West)
A-9020 Klagenfurt

Austriashow map
show more
posted 15. Jan 2020

Stefan Wewerka - Dekonstruktion der Moderne

14. Dec 201919. Apr 2020
opening: 13. Dec 2019 06:00 pm
Stefan Wewerka Dekonstruktion der Moderne 14.12.2019 – 19.04.2020 Stefan Wewerka (1928–2013) war zweifelsohne eine der vielseitigsten Künstlerpersönlichkeiten der deutschen Nachkriegsmoderne. So war er nicht nur Architekt und Objektkünstler, Designer, Modemacher und Innenar- chitekt, sondern auch Bildhauer, Maler, Grafiker, Fil- memacher und Aktionskünstler. Mit großer Lust am sinnlichen Ausdruck erstreckten sich seine gestalteri- schen Überlegungen gewissermaßen vom Städtebau über Architektur, Design und Grafik bis zur Mode und zum Essbesteck. Mit Humor und aufklärerischem Geist rüttelte er an den Dogmen des Internationalen Stils und schlug mit der Dekonstruktion rechtwinklig-funktiona- ler Gewissheiten eine Brücke zu den fortschrittlichsten Entwicklungen der heutigen Zeit. Diese Ausstellung konzentriert sich im Kern auf die in ihrer Komplexität wohl fruchtbarste, ausgesprochen 1 intensive Schaffensphase von 1978 bis in die späten 1980er Jahre. Ziel ist es, das Universum Wewerkas in einer bislang nicht gekannten Weise zu beleuchten und seine Aktualität für Fragestellungen unserer Gegenwart, wie z.B. ein natur- und menschengerechtes Wohnen, herauszuarbeiten. Eine Anleitung, die Welt bewusst in Schieflage zu versetzen, um sie neu zu denken. In Kooperation mit dem Forum Gestaltung e.V./Wewerka Archiv, Magdeburg und der Initiative 100 Jahre Bauhaus im Westen. Zur Ausstellung ist ein umfangreicher Katalog erschienen. 238 Seiten, 28 Euro (38 Euro im Buchhandel)
show more

posted 14. Jan 2020

Trevor Paglen

12. Mar 202031. May 2020
Trevor Paglen March 12-May 31, 2020 Exhibition curated by Ilaria Bonacossa with Valentina Lacinio The inaugural exhibition of the season will be a solo show by Trevor Paglen. The artist has been working on nonfunctional satellites that are both sculptural and evocative of our relationship with Space and the politics that govern its colonization. Developed in collaboration with aerospace engineers, the Satellites are Space-worthy sculptures designed as small, lightweight devices that expand to become large, highly reflective structures. The exhibition in OGR becomes an answer to the discussions on Space investigation questioning the relationship between contemporary art and science, to re-envision the cosmos as a place of possibility.

artist

Trevor Paglen 
show more

posted 13. Jan 2020

Janine van Oene. UMAMI MAYBE

22. Nov 201918. Jan 2020
opening: 22. Nov 2019 05:00 pm
Janine van Oene. UMAMI MAYBE 22.11.2019 - 18.01.2020 Opening reception: Friday 22 November, 17:00 – 19:00 hrs. Performance: Saturday 23 November, 14:00 – 16:30 hrs. Amsterdam Art Weekend gallery opening hours: Friday 22 November, 10:00 – 19:00 hrs. Saturday 23 November, 10:00 – 19:00 hrs. Sunday 24 November, 12:00 – 17:00 hrs. Gerhard Hofland is proud to present Umami Maybe by Janine van Oene (1988, NL). This is the first solo exhibition by Van Oene at the gallery since her debut in the group show Smudgen in 2018. Umami Maybe opens Friday 22 November, during Amsterdam Art Weekend. Followed by a performance on Saturday 23 November by four young artists: Kim David Bots, Lyckle de Jong, Gijsje Heemskerk and Maarten Nico. The performance will involve instruments, soundscapes, improvisation, recitals and storytelling. Previously working together in different formations, on occasion the four form a collective. Active in various fields, they all bring their different backgrounds into the mix. From 14:00 till 16:30 hours. The medium of painting itself is the core of Janine van Oene’s practice. The buttery quality of oil paint, the magic of mixing and the hunt after the right color is what drives her. For Van Oene stretching a canvas and preparing the paint is like setting the table for dinner; starting with a basis of carefully chosen linen she slowly works towards a composition that over time carries vases, dishes and decorative napkins folded into fans. Van Oene’s work is abstract in nature, but finds its origin in still lifes and the depiction of interiors. The images give a suggestion of raw fish on shiny dishes, scallops and fruit or laced curtains, but remain obscure to unambiguous interpretation. Layer after layer she searches a way out of the abstraction, back to a rather melancholic fake reality of outdated interiors, plastic flowers and forgotten curtain patters. She hunts for absurd and excessively stylised details in faded magazines and in memory drenched objects, to let these resurface in the work in unexpected ways. This motionless world is brought to life with the physical act of painting large calligraphic forms, intuitive moves in a puzzle Van Oene has to solve by pushing herself always further towards a solution. Janine van Oene (1988, NL) lives and works in Amsterdam (NL). In 2014 she graduated from the HKU University of Arts in Utrecht, the Netherlands, and was s resident at De Ateliers in Amsterdam from 2014 to 2016. In 2017 Van Oene was selected for the Prospects & Concepts of the Mondriaan Fund, and was awarded the Dutch Royal Prize for Modern Painting. The work of Van Oene is at home in various collections, such as De Nederlandsche Bank, KMPG, The Royal Art Collection and ING Art Collection, AkzoNobel, among many others.
Gerhard Hofland, Amsterdam

Bilderdijkstraat 165-c
NL-1053 KP Amsterdam

Netherlandsshow map
show more
posted 12. Jan 2020

Gio Ponti - Loving architecture

27. Nov 201913. Apr 2020
Gio Ponti Loving architecture November 27, 2019–April 13, 2020 Love architecture, be it ancient or modern. Love it for its fantastic, adventurous and solemn creations; for its inventions; for the abstract, allusive and figurative forms that enchant our spirit and enrapture our thoughts. Love architecture, the stage and support of our lives. -Gio Ponti Architect, designer, art director, writer, poet and critic, Gio Ponti was an all-round artist who traversed much of the 20th century, profoundly influencing the taste of his time, responding to its most significant demands and anticipating many of the themes of contemporary architecture. Forty years on from his passing, MAXXI - National Museum of 21st Century Arts, is devoting a major retrospective to this exceptional figure. The exhibition examines and presents his multi-faceted career, starting with an account of his architecture, a unique and original synthesis of tradition and modernity, history and progress, elite culture and quotidian existence. The exhibition title, GIO PONTI. Loving architecture echoes that of his best-known book, Amate l’architettura. Curated by Maristella Casciato and Fulvio Irace with Margherita Guccione, Salvatore Licitra and Francesca Zanella, the show will be hosted in MAXXI’s stunning gallery 5 from November 27, 2019 to April 13, 2020 and has been produced by MAXXI in collaboration with CSAC - Centro Studi e Archivio della Comunicazione of the Parma University, which conserves Gio Ponti’s professional archive, and the Gio Ponti Archives. The exhibition is the fruit of painstaking research that has aimed to update our understanding of the figure of Ponti, the architect, highlighting a number of the guiding issues underlying his long career and his extraordinary ability to foreshadow the spaces and concepts of contemporary architectural practice. His aspiration towards verticality and lightness through the dematerialization of facades, his conception of a green city in which nature returns to playing a vital role in the agenda of planning and architecture, as well as designing flexible domestic spaces, capable of adapting to the demands of their users, are without doubt themes that, over half a century ago, anticipated with unique clarity the concerns of the present-day. The exhibition layout is immersive and spectacular, suggesting the master’s idea of space: fluid, dynamic and colourful. In the museum lobby, visitors are welcomed by a powerful installation of monumental Alcantara banners, hanging the full height of Zaha Hadid’s spaces which reproduce the stylized facades of skyscrapers, evoking the skyline of an imaginary Pontian city. On display are archive materials, models, photographs, books, magazines and design classics closely associated with his architectural projects and organized into eight sections evoking critical concepts expressed by Ponti himself. Forma Edizioni publishes the catalogue, edited by Maristella Casciato and Fulvio Irace. It is a dual edition in Italian and English, consisting of 300 pages, 150 illustrations, and texts by 45 authors including Giorgio Ciucci, Barry Bergdoll, Domitilla Dardi, Anat Falbel, Farhan Karim, Jorge Rivas, Règean Legault, Bernard Colembrader and Alessandra Muntoni.

artist

Gio Ponti 
show more

posted 11. Jan 2020

Ernesto Neto - Soplo

28. Nov 201916. Feb 2020
opening: 18. Nov 2020 07:00 pm
This retrospective brings together 60 works by Ernesto Neto, one of the most prominent names in contemporary sculpture. Since the beginning of his career, in the 1980s, the artist has been producing a body of work that sets in motion a dialogue between the exhibition space and the various dimensions of the spectator. Bringing into play his unique comprehension of Neo-Concrete heritage, Neto unfolds his initial sculptures –elaborated from materials such as polyamide stockings, polystyrene spheres, spices and herbs– into large, immersive installations that proposes to the spectator a space for conviviality, for taking a breath and for fostering consciousness and awareness. His sculptural practice is engendered by the tension embodied in textile materials and in handicraft techniques like crochet. These great ludic structures accommodate rituals and actions that reveal the artist’s current concerns: the affirmation of the body as an element that cannot be dissociated from the mind and from spirituality. The exhibition proposes to demonstrate how physicality, the individual and the collective have always been present from the very start in the artist’s practice, shaping his poetics. His current collaboration with political and spiritual leaders of the Huni Kuin nations, whose contributions to the artist receive in the exhibition a room of his own, emerges as a natural consequence of his sculptural research. Jointly organized with Pinacoteca de São Paulo. Curators: Jochen Volz y Valeria Piccoli.

artist

Ernesto Neto 
MALBA, Buenos Aires

Avda. Figueroa Alcorta 3415
C1425CLA Buenos Aires

Argentinashow map
show more
posted 10. Jan 2020

Tadej Pogačar | CODE:RED

11. Jan 202029. Feb 2020
opening: 10. Jan 2020 06:00 pm
Tadej Pogačar | CODE:RED 11.01.2020 - 29.02.2020 ERÖFFNUNG Freitag, 10.01.2020 18:00 Uhr galerie michaela stock, Schleifmühlgasse 18, 1040 Wien Brunch & Artist talk: Samstag, 11.01., 11 – 14 Uhr Schleifmühlgassenrundgang: Donnerstag, 16.1., 18 - 21 Uhr Kooperation mit P74 Gallery galerie michaela stock eröffnet am Freitagabend, den 10. Jänner die Ausstellung CODE:RED des slowenischen Postkonzeptkünstlers Tadej Pogačar. Er ist einer der wichtigsten Künstler und Kuratoren der slowenischen Kunstszene der letzten dreißig Jahre. Pogačar erforscht und beleuchtet versteckte, komplexe und übersehene soziale Phänomene, Gruppen, Praktiken und deren Beziehungen. Darüber hinaus beschäftigt er sich mit der kritischen Forschung zu sozialen und politischen Themen sowie mit partizipativen und kooperativen Projekten. Die Ausstellung in Wien präsentiert das langfristig angelegte partizipative Projekt CODE:RED (1999 bis heute), das die informellen Wirtschaftsmodelle, Selbstorganisationsmodelle von Sexarbeitern und deren Menschenhandel problematisiert. Der zweite Teil der Ausstellung beinhaltet das Projekt School's Out (1997-2013). Dieses beschäftigt sich mit Modellen der Herrschaft und Kontrolle in den Bildungseinrichtungen des Sozialismus und untersucht die Beziehungen zwischen Dokumentation, Archiv und Geschichte. Die Serie CODE:RED erforscht und diskutiert ausgewählte Aspekte der Prostitution und Sexarbeit als eine spezifische Form der Parallelwirtschaft. Das Projekt ist ein offener Dialog zwischen Künstlern, Sexarbeitern und der Öffentlichkeit in einer ausgewählten Mikroumgebung und im lokalen Kontext. Sexarbeit kann nicht mehr als lokales oder nationales Phänomen betrachtet werden, sondern ist ein globales Phänomen, an dem Migranten und multikulturelle Gruppen beteiligt sind. CODE:RED wird seit 1999 in zahlreichen Städten durchgeführt, um nur einige zu nennen: Venedig, New York, Skopje, Tirana, Madrid, Zagreb oder Bangkok. Das Video Golden Shoes of Times Square aus dem Projekt CODE:RED ist das Ergebnis einer öffentlichen Aktion, die am 1. Mai 2002 in New York stattfand. Pogačar schleppte ein Paar goldene High Heels über den Times Square. Auf sehr subtile Weise verweist er auf eine spezifische, erotische Wahrnehmung der Stadt und beschäftigt sich indirekt auch mit Prostitution und dem Problem des Menschenhandels. 1990 erließ der New Yorker Bürgermeister Rudy Giuliani eine Reihe von restriktiven Gesetzen, mit dem Ziel, im Namen von Gesundheit und Hygiene soziale Kontakte und Kommunikation zwischen Menschen verschiedener Rassen und Klassen zu verbieten. CODE:RED Bangkok (2005) verfolgt aktuelle Prozesse und Topographien des Menschenhandels. Als die USA sich aus Vietnam zurückzogen, sah sich die Tai-Sexindustrie mit einem besorgniserregenden Rückgang der Gewinne konfrontiert. Die Sexindustrie hat zusammen mit der Tourismusbranche und der Regierung beschlossen, neue Kundenkreise zu lukrieren und aus diesem Grund wurden neue geschäftliche Brücken zwischen Deutschland, Dänemark, Japan und Bangkok aufgebaut. Das standortspezifische Projekt School's Out (1997-2013) wurde ursprünglich 1997 mit Schülern des Šentvid Gymnasiums in Ljubljana konzipiert. In mehreren Klassenzimmern wurden diskrete Installationen (mit Lehrbehelfen und Unterrichtsmaterialien, Alltagsgegenständen etc.) aufgebaut. Sie thematisieren die Fragen von Wissen, Schüler-Lehrer-Beziehungen, Unterricht, Disziplin und Kontrolle. Die Collagen School's Out erzählen und erforschen die moderne Geschichte des Schulunterrichts durch Strategien des subjektiven und visuellen Gedächtnisses. Archivbilder aus den 1940er, 1960er und 1970er Jahren (entlehnt aus dem Slowenischen Schulmuseum), die die Prozesse des Schulunterrichts, der Disziplin und der Kontrolle darstellen, werden Objekten und Collagen gegenübergestellt. Diese Objekte sind pädagogische Werkzeuge und Hilfsmittel, die deutlich auf die Zeit ihrer Entstehung hinweisen, nämlich die Zeit des Sozialismus und des gemeinsamen Staates Jugoslawien. Die angewandte narrative Strategie basiert auf der Verwendung von Wiederholung, Leerraum, Unsinn, Klischees und Humor. CV Tadej Pogačar wurde 1960 in Ljubljana / Slowenien geboren und studierte Ethnologie und Kunstgeschichte an der Kunstuniversität in Ljubljana und Malerei an der Akademie der Bildenden Künste Ljubljana. Er ist Gründer und Direktor des P.A.R.R.A.S.I.T.E. Museum of Contemporary Art (www.parasite-pogacar.si), einer virtuellen Organisation und eines kritischen Modells, das er 1993 gegründet hat. Viele Ausstellungen im In- und Ausland zuletzt im Museum für Zeitgenössische Kunst in Rijeka (2019), City Art Gallery, Ljubljana; Istanbul Biennale, dem San Francisco Art Institute, der 49. São Paulo Biennale, der NGBK in Berlin, der 3. Tirana Biennale, dem ZKM Karlsruhe, dem Stedelijk Museum, der Sparwasser Zentrale in Berlin, Oyo Atomico in Madrid, dem Museo de Arte Carillo Gil in Mexiko City und dem Central House of Artists in Moskau. Er erhielt 2001 das Franklin Furnace-Stipendium und 2004 das Shrinking Cities-Stipendium.

artists & participants

,  Tadej Pogacar 
show more

show more results