daily recommended exhibitions

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

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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.
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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

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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.
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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
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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
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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
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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
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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)
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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 
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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
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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 
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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

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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 
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posted 09. Jan 2020

Statement #07: Ralo Mayer — The Tower, the Expo, the Echo, the Cell

09. Jan 202009. Jan 2020
opening: 09. Jan 2020 06:00 pm
Statement #07: Ralo Mayer — The Tower, the Expo, the Echo, the Cell Performance, 9. Jänner 2020, 18 Uhr Dauer ca. 1 Stunde „Wenn ich ein Projekt beginne, versuche ich, über ein Objekt zu recherchieren, aber was ich finde, sind Geschichten“, so Ralo Mayer über seine performative Praxis, die sich in Vortragsperformances, Ausstellungen und installativen Settings äußert. Mit The Tower, the Expo, the Echo, the Cell erkundet Mayer nicht nur das Verhältnis von Natur und Gesellschaft sowie ihre bröckelnde Trennung modellhaft, sondern macht auch Wechselwirkungen zwischen Experimenten und Entwürfen eines Lebens im All und irdischen Lebensrealitäten zum Thema. Zwischen vergangenen Zukünften und Science-Fiction der Gegenwart verflechten sich Objekte wie Raumfähren, künstliche Ökosysteme, postfordistischer Alltag und digitale Kulturen zu vielschichtigen Narrativen, die Mayer in medienübergreifende Ensembles mittels Installation, Film, Text und Performance übersetzt und somit im weitesten Sinn Ökologien der Zeitgeschichte entwirft. Ralo Mayer (* 1976 in Österreich) lebt und arbeitet in Wien. www.was-ist-multiplex.info

artist

Ralo Mayer 
Kunstraum Lakeside, Klagenfurt

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

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posted 08. Jan 2020

Sylvia Fein / MATRIX 275

13. Nov 201901. Mar 2020
The UC Berkeley Art Museum and Pacific Film Archive (BAMPFA) is pleased to announce a major new survey of paintings by Sylvia Fein, a leading figure in the Midwest Surrealist movement that emerged in in the mid-20th century as an American response to European Surrealism. Sylvia Fein / MATRIX 275 marks the first solo museum exhibition in more than a decade for the artist, who will observe her 100th birthday shortly after the exhibition opens. The exhibition is the latest installment BAMPFA’s MATRIX Program, a series that highlights distinctive and important voices in contemporary art. Sylvia Fein / MATRIX 275 features nearly three dozen paintings made over a 70-year period by Fein, who is based in Martinez, California. Born in Milwaukee, Fein studied painting at the University of Wisconsin–Madison and became closely associated with the community of Midwest Surrealists that emerged during the 1930s and ’40s. Fein’s paintings are noted for her use of egg tempera, a centuries-old practice that endows her imagery with a distinctively luminous quality. Like other Surrealists, Fein often employs strange or dreamlike imagery in her work, frequently repeating certain motifs, such as disembodied eyes or catlike visages emerging from colorful abstract backgrounds. Fein first rose to national prominence in the late 1940s, when she exhibited in the Whitney Annual along with Jackson Pollock, Roberto Matta, and others. Over the course of a long and celebrated career, her work has been exhibited alongside that of other notable Surrealists, including Frida Kahlo, Leonora Carrington, Dorothea Tanning, and Remedios Varo. Fein continues to paint frequently and is also an active farmer, cultivating an extensive orchard of olive trees at her home in Martinez. The 35 paintings chosen for Fein’s MATRIX exhibition represent the full spectrum of the artist’s varied creative output, from figurative landscape paintings to surreal images of eyes, trees, and the cosmos. The exhibition includes works as early as a fantastical 1946 landscape made in Mexico, and as recent as a painting from 2012 that depicts four towering infernos against a vivid green-and-black background. Fein is expected to attend the exhibition opening and deliver an artist’s talk on Wednesday, November 13, at noon; the artist’s talk is free with museum admission. “We’re delighted to celebrate Sylvia’s remarkable body of work—and her 100th birthday—with an exhibition that will reacquaint Bay Area audiences with her unique contributions to the American Surrealist canon,” said BAMPFA Director and Chief Curator Lawrence Rinder, who curated the exhibition. “Together with BAMPFA’s other surreal exhibition this season, Strange—which prominently features one of Sylvia’s fascinating eye paintings—Sylvia’s MATRIX presentation reminds us of Surrealism’s power to suggest new and evocative ways of seeing the world around us.” About Sylvia Fein Sylvia Fein (b. 1919) is a painter and author based in Martinez, California. Fein was born in Milwaukee, Wisconsin, and from 1938 to 1942 she studied art at the University of Wisconsin in Madison. While there she became friends with fellow artists Marshall Glasier, John Wilde, Dudley Huppler, and Karl Priebe. In 1942 she married William Scheuber and briefly had a factory job in Milwaukee testing switches for naval planes. From 1944 to 1947 Fein lived and traveled throughout Mexico. Much of the work produced during this period was included in a solo exhibition of her paintings at the Perls Galleries in 1946. She and her husband then moved to northern California and had a daughter, Heidi. During the 1950s and 1960s, Fein continued to paint in her home studio. In 1973 Fein decided to take a break from painting and published two books, Heidi's Horse(1976) and First Drawings: Genesis of Visual Thinking (1993). These works were greatly inspired by her friendship with art educator and researcher, Henry Shaefer-Simmern. In 2003 she resumed painting. She was featured in the group show, With Friends: Six Magic Realists, 1940-1965 at the University of Wisconsin in 2005 and in a solo retrospective at the Bakersfield Art Museum in 2007. From 1970 to 2000 Fein was also active in the community of Pleasant Hill, California, as a member of several public services commissions. Support 
Sylvia Fein / MATRIX 275 is organized by Lawrence Rinder, director and chief curator, with Lucia Momoh, curatorial assistant. The MATRIX Program is made possible by a generous endowment gift from Phyllis C. Wattis and the continued support of the BAMPFA Trustees.

artist

Sylvia Fein 

curator

Lawrence Rinder 
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posted 07. Jan 2020

Zineb Sedira - A brief moment

15. Oct 201919. Jan 2020
Zineb Sedira A brief moment October 15, 2019–January 19, 2020 Zineb Sedira lives in London and work in Paris, London and Algiers. Her one-woman exhibition at the Jeu de Paume spans the period from 1998 to the present day and embraces such diverse media as video, film, installation and photography. The title reflects the consciousness of time that Sedira’s works portray. Several installations in this exhibition are based on her specific interest in collecting, recording and transmitting histories. The evolution of the form, function and impact of images in societies worldwide are evidently part of Sedira’s observation when dealing with archive material. Although Sedira’s work has often been largely identified with postcolonial issues and in particular with her family history, closely linked to Algeria, “A brief moment” also highlights the manner in which she explores the exponential devastation of the environment through over-production, universal circulation of people and goods. Assembling five multimedia installations and some photographic and film works, the show reveals different forms of change that occurred in the XXth century: the intense development of the automobile industry (The End of the Road, 2010) and the development of transportation of freight corresponding to global exploitation and transformation of primary and secondary resources by first world countries as a direct consequence of imperialism (Lighthouse in the Sea of Time, 2010 ; Brocken Lens, 2011; Transmettre en abyme, 2012), the history and the independence of colonialised countries and in particular Algeria (Standing Here Wondering Which Way to Go, 2019 ; Laughter in Hell, 2018). By her personal implication and her physical presence in the works, their documentary nature is directly linked to her engagement as an artist which she sees as her commitment to society and to democracy. Curators: Zineb Sedira and Pia Viewing Exhibition produced by Jeu de Paume. With the support of Fluxus Art Projects.

artist

Zineb Sedira 
Jeu de Paume, Paris

JEU DE PAUME | 1, place de la Concorde
F-75008 Paris

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posted 06. Jan 2020

Barry Le Va - SCULPTURED ACTIVITIES

12. Dec 201915. Feb 2020
Carolina Nitsch Project Room is pleased to present an exhibition of works on paper by Barry Le Va. The works in this show are from the late 80’s and early 90’s and relate to his Sculptured Activities series, which represent various conceptual possibilities related to his sculptural installations. The black and white drawings and collages are created in pencil, charcoal and ink, while the prints are multi-colored, layered woodblocks. Active since the late 1960’s, Barry Le Va is often associated with Process Art and Postminimalism, which developed at this time, alongside peers such as Bruce Nauman, Richard Serra, and Robert Smithson. His early work employed delicate found materials, which appear randomly scattered across a room, but were in fact scripted with deliberate processes. The works were conceptual directives, which when enacted resulted in spatial drawings or installations. By the 80’s Le Va’s work became more sculpturally physical; as explained in an interview he “wanted to focus on a mixture of many contexts and readings based upon fleeting glimpses of activities, elements of architecture, mental states, spatial arrangements of functional objects…” Having studied architecture before he went to art school, one can see the obvious correlation between his two-dimensional work of this time and floor plans and elevations used by architects. They act as templates that trace various arrangements, movements and processes acting as a sort of catalog of the artist’s thoughts and influences. “I look at templates as a symbolic language. If I can get the right templates, make them into the right volumes and put them together, possibly I can reconstruct through situation(s) a different, non‐art language.” The woodcuts employ this methodology by using the same few blocks in different configurations. The blocks are reused with different colors in varied orientations highlighting a sense of chance and experimentation. In this way the entire matrix becomes a drawing tool like a stamp which is rotated and printed in different ways to create unpredictable results. Le Va’s work pushes against the notion of permanence in architecture and art and instead emphasizes transitions. “I dislike the notion of knowing there is a finished stage. In all the work, I have elements that I can constantly change: the arrangements, their spatial relationship, the content… So, in a sense, they’re never finished.” Coinciding with this exhibition, Dia will open a yearlong survey of Barry Le Va’s early sculptural work at Dia:Beacon. David Nolan, New York will also open Barry Le Va: Part One. Drawings 1967-2017 a survey of works on paper spanning 50 years. Part Two: Sculpture will open in the spring of 2020. Barry Le Va (b. 1941, Long Beach, California) has shown extensively throughout the United States and Europe, and has been the subject of major survey exhibitions at the New Museum, New York, 1979; the Carnegie Mellon Art Gallery, Pittsburgh, 1988; Institute of Contemporary Art, Philadelphia, 2005 (curated by Ingrid Schaffner); and the Serralves Museum of Contemporary Art, Portugal, 2006. His works can be found in the permanent collections of the Art Institute of Chicago; Dallas Museum of Art; Denver Art Museum; Los Angeles County Museum of Art; The Museum of Modern Art, New York; mumok, Vienna; The National Gallery of Art, Washington DC; The Morgan Library & Museum, New York; Whitney Museum of American Art, New York; and Yale University Art Gallery, New Haven. Le Va currently lives and works in New York City.

artist

Barry Le Va 
Carolina Nitsch, New York

534 West 22nd Street
NY 10011 New York

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posted 05. Jan 2020

R. H. Quaytman. The Sun Does Not Move. Chapter 35

08. Nov 201923. Feb 2020
R. H. Quaytman. The Sun Does Not Move. Chapter 35 08.11.2019 - 23.02.2020 Curator: Jarosław Suchan curator's assistant: Maria Śmigiel R.H. Quaytman is one of the most outstanding contemporary American artists whose oeuvre can be seen as one of the most original attempts to revitalise and update the intellectual and emotional potential locked in the painting medium. The artist takes particular interest in examining painting in its physical – as an object that occupies a given space – as well as semantic dimension, as a symbol of a complex relationship with its meaning and material base. Quaytman enlivens the painting medium demonstrating its ability to remain an efficient tool in critical analysis of visual reality although the nature of paintings that are filling up this reality has radically changed in our times. Quaytman’s works are deeply rooted in the history of art and in art theory, they make reference to philosophical reflection on the nature of painting, representation, construction of visual signs, and the phenomenon of seeing. At the same time, they explore aspects of painting that belong to its technical toolkit, placing its primary physical properties, such as the size of a painting, proportions, materiality of the background or pigment at the centre of her attention. These issues are explored not only at a formal level but they provide foundations for building narratives that deal with memory (and forgetting), the nature of history (the big H and personal), manipulating visual information, construction of space, in which our imagination works side by side with ourselves as psychosomatic creatures. Since 2001 Quaytman oeuvre has been structured into “chapters”. Each of them is a separate exhibition consisting of paintings created especially for the exhibition and sometimes supplemented with carefully chosen earlier artworks. Each such exhibition is site-specific, meaning it refers to architectural but also historic and institutional context of a place. Amongst Quaytman’s exhibitions that have been presented so far, the one at the Muzeum Sztuki is a remarkable conceptual retrospective. Previously, similar label could be given only to the project titled “Spine” embracing chapters from 1 to 20 organised at Kunsthalle Basel and Neuberger Museum of Art in 2011 and covering chapters from 1 to 20. The exhibition at the Muzeum Sztuki is intended as an outcome of re-read chapters from 21 to 34. It will not be a mechanical presentation of these chapters but a new story overarching them. As is the case with every exhibition of this artist, the framework of the story will be dictated by the context of the place which gives specific colours to the exhibition’s retrospective character. In Quaytman’s biography, Łódź and Muzeum Sztuki are places linked with the very beginnings of her “book”. The first chapters were largely drawing from the material collected by the artist during her first trip to Łódź – the home city of some of her forebears. It was also here, where Quaytman discovered the oeuvre of Katarzyna Kobro, a radical constructivist sculptor who worked in this city between the 1920s and the 1950s and whose almost entire legacy can be found in the collection of the Muzeum Sztuki. Kobro’s art, in particular one of her sculptures, “Spatial Composition No. 2”, not only featured at some point as a frequent motif in Quaytman’s works but also provided the starting point for original considerations of the American artist on spatial dimension of image and painting. The exhibition at the Muzeum Sztuki will provide a retrospective insight into shared foundations of her art. As the artist states: "This chapter, like its title suggests, attempts to start again from the beginning, and this beginning happened as a direct result of my taking Katarzyna Kobro's ideas about sculpture, space, and time and applying them as a painting model. It was through a direct engagement with one work of art, Spatial Composition II, made in 1928, that inspired numerous paintings before the chapters began, but also inspired the basic geometric foundation of the chapter structure. Additionally, I became equally interested in Władysław Strzemiński afterwards, and based my use of op-art on his ideas of opticality and the afterimage. The basic ideas that came out of Kobro and Strzemiński was the idea that painting could be seen just as equally through a sideways glance as the straight forward one, this, as ultimately attention is distracted and that might be all the paintings would get." Chapter 35 consists of 10 already closed chapters and 32 new paintings made specially for the exhibition at Muzeum Sztuki. The exhibition will be accompanied by a publication designed by the artist herself. The exhibition is organized in cooperation with Fundacao de Serralves - Museum of Contemporary Art, Porto
ms Muzeum Sztuki Lodz

ul. Wieckowskiego 36
90-743 Lodz

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posted 04. Jan 2020

Kamilla Bischof - SCHÖN VERMÄHLT

07. Dec 201919. Jan 2020
opening: 06. Dec 2019 07:00 pm
Kamilla Bischof - SCHÖN VERMÄHLT 07.12.2019 - 19.01.2020 Kurator: Sandro Droschl Künstlerbuch erhältlich Pressegespräch: 06.12.2020, 9:30 Eröffnung: 06.12.2019, 19:00 Monique Fessl/DJ Set Rahmenveranstaltungen 12.12.2019 18:00 Melanie Ohnemus, Vortrag 09.01.2019 18:00 Sandro Droschl, Kuratorenführung 16.01.2020 18:00 Sonja vom Brocke, Düngerkind, Lesung * ERSTE EHE. Einen wasserfesten Laptop, damit ich auch in der Wanne tippen kann, bitte! Einen Lastwagen mit Hebebühne, immer auf Abruf bereit, bitte! Das Universum prüft uns nicht nur einmal? Strafe muss sein? Ich, eine tragische Figur? Einspruch! SCHÖN VERMÄHLT ist die bislang umfangreichste Einzelausstellung von Kamilla Bischof (*1986 Graz, lebt in Berlin), einer wesentlichen österreichischen Künstlerin der jungen Generation. In einem offenen Parcours zeigt Bischof eine neue Serie von großformatigen Gemälden, die am Realen angelehnt in phantastische Welten führen. Ein eigens gestaltetes Künstlerbuch zeigt die Doppelbegabung der Künstlerin und Literatin, in dem sie aktueller Malerei und Fotografie eine bildhaft durchbrochene Prosa gegenüberstellt. Auch in ihrer Malerei verfolgt Bischof überraschende narrative Strategien, deren überzeugende Technik es im Bildaufbau erlaubt, Figuration sinnvoll mit dem Abstrakten spielen zu lassen. Farbintensive Szenarien, in denen menschliche Figuren, Tiere, aber auch phantastische Geschöpfe die Protagonistinnen sind, bilden die Sujets der Malereien der Künstlerin. Gemein ist ihnen ein zumeist freudvoll kombinatorischer Gestus, der in seiner malerischen Raffinesse potentielle Wahrnehmungsverschiebungen und darin andere Lesarten der Bilder eröffnet. Der Symbolcharakter von Bischofs Darstellungen provoziert das kollektive Bildgedächtnis ihres Publikums und changiert zwischen maschinenhaften Zuständen und dramatischen Attitüden. Die dargestellten Figuren und Gegenstände zeugen von einer einprägsamen Bildsprache, wohingegen die Hintergründe zumeist diffus bis abstrakt bleiben und somit den Eindruck erwecken, bei den dargestellten Szenen handele es sich um Traumsequenzen, die zwar im Kern klar erkennbar sind, nach außen hin ähnlich einer Erinnerung zusehends verblassen. Kamilla Bischofs bildnerische Erzählungen werden gerne in Prosatexten ergänzt und im Ausstellungsraum in kulissenhaften Einbauten inszeniert. So wird auch die aktuelle Ausstellung von einem Text aus zahlreichen Szenen begleitet, der in ihrem neuen Künstlerbuch erscheint. In ihren Texten verfolgt Bischof ähnliche Strategien wie in ihrer Malerei: Ihre Erzählungen sind meist konkret im Realen verortet, driften hingegen immer wieder ins Surreale ab. Vor ihrem Malerei-Studium an der Akademie der bildenden Künste Wien war sie im Bereich Bühnenbild tätig. So ist die Künstlerin nicht nur um Kulissen für ihre gemalten Figuren bemüht, sondern arrangiert von ihr gestaltete Interieurs im Ausstellungsraum zu theatral, wohnlich einladenden Environments. Dieser performativ spielerische Zugang zur Malerei spiegelt sich auch in Bischofs Überlegungen zum Ausstellungs- und Buchtitel: „Bei SCHÖN VERMÄHLT denke ich nicht nur an Hochzeit, sondern stelle mir vor, dass die Wortkombination eine feierliche Verbindung zu dem Wort ‚Malerei’ herstellt. So könnte ‚vermählen’ eine antiquierte, verschrobene Version von ‚malen’ sein; schön vermalt, schön gemalt, oder gut verbunden, angeschraubt, wie ein Haltegriff.“ Die Besucher erwartet schon vor dem Betreten des Künstlerhauses ein erster Vorgeschmack: Am Dach des Gebäudes steckt eine überdimensionale Kunststoff-Erdbeere, wie auf einem schön garnierten Eisbecher. Begibt man sich ins Innere von SCHÖN VERMÄHLT, so findet man eine Sitzgruppe aus dekorierten Gartenmöbeln, in deren Mitte das Künstlerbuch zum Lesen bereit liegt. Das Cover des Buches zeigt trashige Hausschuhe, worauf kläffende rote Münder gemalt sind. Wobei die häusliche Atmosphäre rasch in eine phantastische Szenerie umschlägt, wenn man wenig später auf eine Gruppe bemalter, Hörner tragender Pappkartons trifft. Eingezäunt wird die Tierherde von großformatigen Gemälden, die eine bunte Einrichtung aus einer Alarmsirene, Bauhütchen, Möbelstücken, Figuren, Zierpflanzen, Autoreifen, Steinschleuder, Seifenspender, Steigbügel und überlaufender Badewanne versammeln. Kamilla Bischof entwickelt mit ihren Kompositionen ein stetig wachsendes Repertoire wiederkehrender Motive und Interieurs. Durch das gekonnt inszenierte Zusammenspiel aus Figuren und Gegenständen im Spannungsfeld zwischen Surrealem und Realität vermag sie es Erzählungen zu formulieren, die aufgrund ihrer Komplexität offen und mehrdeutig bleiben. Die Künstlerin bewegt sich entlang den schieren Zufällen des Alltags fließend zwischen Installation, Fotografie, Performance wie Text und erweitert so den narrativen Rahmen in alle Richtungen, bis ihre vielfältigen Aktivitäten schließlich als richtig liegende Elemente des Malerischen mit weichem Händedruck ineinander greifen. Kamilla Bischof (*1986 Graz, lebt in Berlin) studierte Malerei an der Akademie der bildenden Künste, Wien und absolvierte die Schule für künstlerische Photographie, Wien. Ihre Arbeiten waren in Einzelpräsentationen u.a. in der Bar du Bois, Wien (2014), der Halle für Kunst, Lüneburg (2017), bei Sandy Brown auf der Art Berlin (2017) und FIAC Paris (2018), in Gruppenausstellungen bei Acappella, Neapel (2018), im Heiligenkreuzerhof, Wien (2019) und im Museum of Modern Art, Warschau (2019) zu sehen.  

curator

Sandro Droschl 
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