daily recommended exhibitions

posted 30. May 2020

Alexander Kluge. Oper: Der Tempel der Ernsthaftigkeit

14. Mar 202014. Jun 2020
opening: 13. Mar 2020 07:00 pm
**verlängert bis zum 14. Juni 2020 ** Alexander Kluge. Oper: Der Tempel der Ernsthaftigkeit 14. März - 26. April 2020 Eröffnung: 13. März 2020, 19 Uhr Ein dreiteiliges Ausstellungsprojekt von Alexander Kluge in Zusammenarbeit mit 
 Württembergischer Kunstverein Stuttgart und Staatsoper Stuttgart
Museum Ulm und Kunsthalle Weishaupt
Gleimhaus Halberstadt, Moses Mendelssohn Akademie und andere Ausstellungsorte Halberstädter Brennpunkte

 Der Württembergische Kunstverein zeigt in Zusammenarbeit mit der Staatsoper Stuttgart vom 14. März bis zum 26. April 2020 einen Aspekt des dreiteiligen Ausstellungsprojektes Alexander Kluge. DIE MACHT DER MUSIK, das in Kooperation mit dem Museum Ulm und der Kunsthalle Weishaupt sowie mit dem Nordharzer Städtebundtheater, dem Gleimhaus Halberstadt und anderen Ausstellungsorten realisiert wurde. 

 Das dreiteilige Projekt des Autors und Filmemachers Alexander Kluge, dem der Württembergische Kunstverein 2017 eine große Einzelausstellung widmete, verhandelt an seinen verschiedenen Stationen die Bedeutung der Ernsthaftigkeit in der Moderne. Laut dem US-amerikanisch-britischen Soziologen Richard Sennett gibt es in Städten zwar viele Orte der Unterhaltung, aber zu wenige der Ernsthaftigkeit. Welche Rolle spielt und welche Rolle könnte die (spätestens) im 17. Jahrhundert entstandene Oper als heutiger "Tempel der Ernsthaftigkeit" (Kluge) spielen: als Ort an dem Ernst, Trauer und Freude zum Ausdruck kommen und Verluste betrauert werden können. Opernhäuser benötigen dazu, so Kluge, die Auseinandersetzung und den Austausch mit anderen Kunstfeldern. 

 Weitere Stationen Museum Ulm und Kunsthalle Weishaupt, Ulm
Alexander Kluge - Die Macht der Musik 
Die Oper - Tempel der Ernsthaftigkeit
20. Oktober 2019 - 19. April 2020
 Gleimhaus Halberstadt, Moses Mendelssohn Akademie und andere Ausstellungsorte
 Alexander Kluge. Halberstädter Brennpunkte 
10. November 2019 - 09. April 2020
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posted 29. May 2020

Taus Makhacheva - 4’224,92 cm2 de Degas

13. Mar 202023. Aug 2020
Taus Makhacheva 4’224,92 cm2 de Degas March 13–August 23, 2020 The Musée cantonal des Beaux-Arts, Lausanne (MCBA), is pleased to announce Taus Makhacheva’s first solo exhibition in Switzerland, with a site-specific installation inspired by the museum’s collection history. The works of Taus Makhacheva (born 1983, lives and works in Moscow), whether they take the form of performances, installations, or videos, are often inspired by a story—told, imagined, or experienced first-hand. She explores the grand narratives of history and the history of art, focusing on their constructions, omissions, and geographical and political slants. Take Tightrope (2015), a video installation presented at the 57th Venice Biennale, which shows a tightrope walker carrying copies of paintings from the Museum of Fine Arts named after P.S. Gamzatova in the artist’s native Dagestan across a rope stretched taut across a precipice, offering a metaphor both of the artist’s position and the hierarchies at work in the creation of artistic value. For Lausanne, Taus Makhacheva has developed her considerations on our relationship to the past, to culture and to the fluctuating value of art, drawing on the MCBA collection. Her installation for the Project Space is the result of a lengthy process of research, during which she followed the move from the former museum site where the institution was housed since 1906, to its new premises which opened in 2019, and all the steps involved in restoring, packing, and transporting the art works. She also probed the history of the collection, taking an interest both in the grand narratives that underpin it and the anecdotes and individuals who built it up over the years, exploring the correspondence in the museum archive from the 1930s onwards and conducting interviews with members of staff. The artist offers visitors a stroll through an imaginary museum that fleshes out narratives rooted in reality but rendered as a fiction. The exhibition title refers to the mysterious disappearance of 4,224,92 cm² from a pastel by Edgar Degas in the MCBA collection at some point between the inventory drawn up after his death and the work’s acquisition by the museum in 1936 (Blanchisseuses et chevaux, c. 1904). This enigmatic loss echoes Taus Makhacheva’s interest in processes of construction of artistic value, while also offering a clue that let her plan her exhibition like a plot and lay it out like a narrative across the installation space. Taus Makhacheva’s installation is almost entirely made up of fabric, a medium that protects and envelops while at the same time holding the potential for uncovering. Gesturing both to painted canvas and to clothing, decor, and the tradition of soft sculpture, it can be read as a human-scale cross section model of an abandoned museum. Soft-picture rails that seem to have been put up at children’s height, hand-embroidered with stories both real and fictional of how artworks came to be in various museum collections, confetti on which details of paintings can be identified, and bolts of printed cloth on which the rough lines of the now missing parts of the Degas pastel can be made out, all lead to a large board, hung horizontally like an imaginary ceiling, with several openings that visitors are invited to poke their heads through to listen to a sound that simultaneously evokes water, fire, termites and various other pests. The visitors’ bodies are thus incorporated into the installation, playing an active listening role while temporarily becoming motionless, ephemeral statues as part of the installation. In another part of the space, stories about the value of art, about museum storage and that which is kept, collected and yet hidden, are broadcast by loudspeakers. Like the sculptural elements of the installation, the narratives populate the space and transform the relationship with time and with that which is known, imagined, witnessed, or felt. The exhibition is a part of the free programme at the Musée cantonal des Beaux-Arts’ Project Space, a 230 square meter space entirely dedicated to new commissions from both local and international contemporary artists.
Musée Cantonal des Beaux-Arts, Lausanne °

Palais de Rumine Place de la Riponne 6
CH-1000 Lausanne

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posted 28. May 2020

David Blandy - How to Fly | How to Live

01. May 202030. Jun 2020
David Blandy How to Fly | How to Live May 1–June 30, 2020 John Hansard Gallery, part of the University of Southampton, is pleased to announce two new digital works by artist David Blandy, especially commissioned to reflect on the uncertain times that we currently find ourselves in. These two new works show the audience How to Flyand How to Live, obliquely referencing our present moment, while also pointing to new potentials. Through his diverse practice, David Blandy (b.1976, London, UK) questions our relationship to the culture that surrounds us, reflecting on the imaginary spaces that form our identity. Delving deep into video gaming, genre fantasy and Internet culture, he is fascinated by each form’s potential for communality and finding new forms of kinship. The first of Blandy’s two new digital videos, How to Fly (2020) will be shown throughout May as an online exhibition to coincide with the soft launch of John Hansard Gallery’s new website, and will also be shown on e-flux Video & Film from May 1 through May 15. The second, How to Live (2020) will subsequently be shown online throughout June. These two newly commissioned works build on a series which uses the form of online video tutorials to explore ideas around patterns in nature and existence. Each of them begins with Blandy giving a step-by-step tutorial explaining how to make a short video about a specific subject, only using the tools available via a computer – through the Internet and video editing software to video games. These two new tutorials develop from his previous works: How to make a short video about extinction (2014), and How to make a short video about ideas (2016). Both of these previous works explore the increasing uncertainty of what is real and what is artifice. As the digital world pervades and infiltrates every aspect of our lives, it becomes evermore difficult for anyone to ever have a ‘genuine’ sense of reality, instead these works highlight how reality is felt in a range of new and varying ways. David Blandy is also one half of a collaborative practice with artist Larry Achiampong (whose recent exhibition at John Hansard Gallery, When the Sky Falls sadly had to close early due to the coronavirus pandemic). One of their recent projects, Finding Fanon (2015–17), focuses on the writing of Frantz Fanon and post-colonial identity, and their latest collaboration, entitled Genetic Automata (2019), was commissioned and toured by Arts Catalyst in 2019. This piece forms the first part of an ambitious new body of work by Blandy and Achiampong, exploring race and identity in an age of avatars, video games, and DNA ancestry testing. In 2018 their collaborative work was selected for the Film London Jarman Award. David Blandy’s films are distributed through LUX and he is represented by Seventeen Gallery, London, UK. Blandy and Larry Achiampong are jointly represented by Copperfield Gallery and Seventeen Gallery, London, UK. Blandy’s work has been shown at numerous public institutions including Tate, London, UK; FACT, Liverpool, UK; BALTIC Centre for Contemporary Art, Gateshead, UK; INIVA, London, UK; Künstlerhaus Stuttgart, Germany; Spike Island, Bristol, UK; Turner Contemporary, Margate, UK; Nouveau Musée National de Monaco, Monaco; Kiasma Museum of Contemporary Art, Helsinki, Finland; Serpentine Gallery, London, UK; Witte de With, Rotterdam, Netherlands; Modern Art Oxford, UK; Kölnischer Kunstverein, Cologne, Germany; Site Gallery, Sheffield, UK and Focal Point Gallery, Southend-on-Sea, UK. How to Fly and How to Live are John Hansard Gallery online exhibitions as part of the Digital Array programme that is supported by the Barker-Mill Foundation.


David Blandy 
John Hansard Gallery, Southampton

142-144 Above Bar St
SO14 7DU Southampton

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posted 27. May 2020

Home from Home

17. Apr 202030. Aug 2020
Home from Home Irish Artists respond to the COVID 19 restrictions April 17–August 30, 2020 Artists: Sara Baume, Tinka Bechert, Martin Boyle, Brian Duggan, James L. Hayes, Kerry Guinan, Eileen Hutton, Julie Merriman, Doireann Ní Ghrioghair, Treasa O’Brien, Julia Pallone, Amanda Rice, Ciara Roche, Kathy Tynan, Mieke Vanmechelen Curated by Chris Clarke and Fiona Kearney The Glucksman is pleased to announce a new online initiative Home from Home intended as a way to provide insight into the extraordinary situation of being confined to home during the COVID-19 pandemic. The selected artists were due to present work in the Glucksman this April as part of the exhibition HOME: Being and belonging in contemporary Ireland which is now postponed until later this year. Home from Home provides an artistic view of this unanticipated and unprecedented hiatus. Every Tuesday and Friday from April 17, the Glucksman shares an individual response on our website alongside additional information on the artist’s wider practice. As the weeks go by, the artists will collectively explore the shared challenges of being at home, the frustrations, boredom, anxiety, but also the capacity to reflect, create and connect. The observations range in tone and media, from Ciara Roche’s painterly sketches of domestic space, to Mieke Vanmechelen’s creation of a rural environment turned upside down and Sara Baume’s homemade souvenirs in a world without tourist travel. Brian Duggan humorously records his own children’s cultural ingenuity while Julie Merriman focuses on repetitive cut-and-paste tasks as a means of keeping anxiety at bay. Home from Home began on Friday, April 17 with Eileen Hutton’s brief video clip of a bumblebee soundtracked by the sounds of her newborn son. Home from Home captures some of the diverse ways we are all experiencing the current restrictions: the implications of working alongside children and pets, the solitary exploration of the imposed 2km parameter around one’s residence, the increased reliance on online networks and applications, a renewed attention to the natural world and the prominence of social distancing in our everyday lives. Home from Home began on Friday, April 17, with new responses released every Tuesday and Friday throughout April, May and June 2020, and the cumulative works hosted and available for viewing online.
Glucksman, Cork

LEWIS GLUCKSMAN GALLERY | University College Cork

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posted 26. May 2020

Mondrian and De Stijl

13. May 202014. Sep 2020
Mondrian and De Stijl 13.05.2020 - 14.09.2020 Holland at the beginning of the last century was the birthplace of a totally new form of art, an abstract art based on strict relations between rectangular forms, color planes, and straight lines. In October 1917, during the First World War, a group of young artists in neutral Holland joined forces to create a magazine. Called De Stijl, it presented and promoted this new, innovative art. The new art proved able to demolish the boundaries between disciplines, painting becoming architecture, applied arts becoming sculpture, design becoming art. Artists from all over the world adopted multidisciplinarity and worked together with intensity. It was refreshingly modern: they communicated via the magazine, letters, and mailings, just as artists today use modern forms of communication to reach one another. Piet Mondrian was the founding father of the new art. A generation older than most of the others, he started in 1892 as an old-fashioned Dutch landscape painter, acquiring incredible skills over a period of almost twenty years. After 1905 he concluded that the quest for beauty—the ultimate objective of every painter—resides not in the subject or in the representational function of painting but in the way forms and colors produce a pictural plasticity that is perfectly able to speak directly to the eye of the beholder. For a while he presumed the source of beauty was hiding inside the painting. This at first led him to erratic ventures in theosophy, but by 1914 his experiments had brought him to the conclusion that beauty resides on the surface, in the structure and composition of color and line. He would need another three years to figure out exactly how it worked, but in 1918 the new abstract art was born. The new plasticity showed how painting could break free of the frame and influence and even determine the environment in which it is presented. The visual arts of the twentieth century were thus redefined as a new form of geometrical abstract art conquered the world and shaped modernity. The show brings together examples of the work of Mondrian and his fellow artists. The accompanying catalog will shed new light on the way Mondrian looked for ways of presenting his work that would elucidate its meaning and allow onlookers to discover a clear, meaningful relationship both to it and, by extension, to the world that surrounds it. He was well aware that the works he chose for exhibitions could signal his intentions, could say something about his position relative to the work of his fellow artists. His selections also articulated the development in his own art. Mondrian continually broke down his own theories and principles, creating an ever freer, more dynamic, and lively art that still shapes the future.

artists & participants

De Stijl,  Piet Mondrian 
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posted 25. May 2020

Mario Sala. Frau Kern erhöht den Druck, 1

22. May 202018. Jul 2020
Mario Sala. Frau Kern erhöht den Druck, 1 22.05.2020 - 18.07.2020 Diesen Morgen wurde alles anders. Nach dem Lappen mit frischem, kaltem Wasser im Gesicht von Frau Kern, erhöht sich ihre Pulsfrequenz. Der Deckel der Tagescrème Dose hebt leicht an und ein Stück geballte Salbe dringt durch den Deckel und schaut Frau Kern ins Gesicht. Sie hört ihre eigenen Atemzüge in den Ohren und dreht sich beschwingt aus dem Badezimmer zum Herrgotts-Bild im Foyer. Das hat sich vervielfältigt in nie gesehenen Sequenzen und Ausformungen. Frau Kern zieht sich sofort in ihre ausgeglichenste Form zusammen und sieht überwältigende, pulsierende Bildnisse ihrer gegenwärtigen Welt nach dem Befall.


Mario Sala 
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posted 24. May 2020

Claudia Wieser. Generations

15. Apr 202015. Aug 2020
Claudia Wieser. Generations Curated by Rachel Adams **EXTENDED THROUGH AUGUST 15, 2020 Opening date to be announced soon.** **Claudia Wieser: Generations Virtual ARTalk** Wednesday, April 15, 2020 12:00 pm - 1:00 pm Referencing the history of space and form through architecture, design, and imagery, Claudia Wieser considers the coexistence of abstraction and the physiological experience through her spatial installations. With a nod to Modernist geometric constructions inspired by the Bauhaus and influenced by spirituality within an artistic practice like artists Hilma af Klint, Wassily Kandinsky, and Paul Klee before her, Generations will encompass Wieser’s distinctive, multi-faceted practice. This will include hand-painted and patterned ceramics, carved wooden sculptures, tiled mirrored sculptures, fine colored pencil and gold leaf drawings, and large and small plinths that act as both sculptures for display and sculptures themselves. Wieser will create a new wallpaper for the exhibition undulating with imagery of historic sculpture and architecture, as well as imagery from both popular culture and the lesser-known avant-garde. Collaged together from her vast archive, the combination of textures, surfaces, and spliced imagery allows the viewer to create new histories, and in turn, see themselves both within that history and adding to it. Wieser approaches art-making through combining geometric abstraction and found images, asking her viewers to look at ourselves looking, and what that means in the self-reflexive time in which we currently live. Through spending time with the work, Wieser’s interest in narrative emerges as she “attempts to find forms and arrangements which narrate more than concrete material and forms you can see.”1 The artist uses abstraction not only as a process tool but as a conceptual one as well. By stitching a constellation of elements together through kaleidoscopic forms, Wieser aims to change the visual interpretation of the viewer and give them a vastly new experience. Claudia Wieser: Generations is co-curated by Rachel Adams, Bemis Chief Curator and Director of Programs and Jennifer Carty, Associate Curator of Modern and Contemporary Art, Smart Museum of Art. Claudia Wieser: Generations is organized by Bemis Center for Contemporary Arts and the Smart Museum of Art at the University of Chicago. Sponsored, in part, by Douglas County, Nebraska; The Goethe-Institut; Nebraska Arts Council and Nebraska Cultural Endowment; Omaha Steaks; and Streck. Claudia Wieser: Generations is on view at the Smart Museum of Art at the University of Chicago September 22–December 13, 2020.
Bemis Center for Contemporary Arts, Omaha

724 South 12th Street
NE 68102 Omaha

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posted 23. May 2020

Julije Knifer. Kompromisslos

24. Apr 202030. Aug 2020
opening: 23. Apr 2020 07:00 pm
Julije Knifer. Kompromisslos 04.2020 – 30.08.2020 Eröffnung: 23.04.2020 19:00 Uhr Koordiniert von Peter Peer Neue Galerie Graz In Kooperation mit MSU – Museum für zeitgenössische Kunst, Zagreb Julije Knifer war einer der international renommiertesten kroatischen Künstler nach 1945. Ab 24.04. werden seine Werke in der Neuen Galerie Graz mit der Ausstellung Julije Knifer. Kompromisslos zu sehen sein. Julije Knifer (1924 in Osijek – 2004 in Paris) nimmt eine signifikante Position in der Kunst bzw. konzeptuellen Malerei nach 1945 ein. Ausgehend von den postexpressiven, konzeptuell-minimalistischen Strömungen der Malerei in Europa und den USA gelangte Knifer um 1960 mit den „Mäander“-Bildern zu seinem ureigensten und ausschließlichen Motiv. Mit der grundlegenden Intention der Schaffung eines „Antibildes“, die ihn eng mit der von ihm mitbegründeten Gorgona-Gruppe (1959–1966) verband, verstand Knifer den Mäander jenseits aller Gegenständlichkeit als reine „Idee (...) ohne Rücksicht auf seine physische und visuelle Existenz.“ Knifer bestritt Ausstellungen in den prominentesten Institutionen der internationalen zeitgenössischen Kunst, seine Werke befinden sich in exklusiven Privat- und Museumssammlungen. Mit der Neuen Galerie Graz ist Julije Knifer durch seine Teilnahme an trigon 77 (Der kreative Prozeß) verbunden.   Die Ausstellung findet in Kooperation mit dem MSU –Muzej Suvremene Umjetnosti/Museum für moderne und zeitgenössische Kunst, Zagreb, aus Anlass der EU-Ratspräsidentschaft Kroatiens im ersten Halbjahr 2020 statt.


Julije Knifer 


Peter Peer 
Neue Galerie Graz / Universalmuseum Joanneum

NEUE GALERIE / BRUSEUM Joanneumsviertel, Kalchberggasse
8010 Graz

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posted 22. May 2020

Eileen Gray

29. Feb 202012. Jul 2020
**March 20, 2020 Update Regarding COVID-19 BGC buildings on West 86th Street remain closed.** Eileen Gray—on view at the Bard Graduate Center Gallery, located at 18 West 86th Street in New York City, from February 29 through July 12, 2020—is the first in-depth exhibition in the United States to examine the total oeuvre of designer and architect Eileen Gray (1878-1976). The exhibition, curated by Cloé Pitiot, is comprised of approximately 200 works, including never before publicly exhibited furniture, lacquer works, architectural drawings, and archival materials. The exhibition offers new insights about Gray’s long and distinguished career that began in the early 1900s and continued until her death in 1976, with particular attention to her practice as an architect. Rarely seen architectural drawings and photographs elucidate how Gray designed her most famous house, E 1027, and other architectural projects. Eileen Gray is organized in five thematic sections that consider critical stages of Gray’s career. It begins with her early training as a painter in London at the dawn of the twentieth century, alongside contemporaries such as Wyndham Lewis, and her arrival in France in 1902, where she would spend the rest of her life. It follows her early experiments in lacquer and weaving, and the establishment of Galerie Jean Désert in Paris. Special emphasis is given to to Gray's architectural projects from private houses for leisure to proposals for public facilities. Throughout the exhibition, Gray’s seminal works are presented alongside a rich trove of photographic and archival documents, some never before shown in public. The exhibition is accompanied by a fully-illustrated catalogue designed by Irma Boom and distributed by Yale University Press.


Eileen Gray 


Cloe Pitiot 
Bard Graduate Center Gallery, New York

18 West 86th Street
NY 10024 New York

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posted 21. May 2020

Statement #09: Michaela Schwenter — re-ASSEMBLY

21. May 202010. Jun 2020
Statement #09: Michaela Schwenter — re-ASSEMBLY Performative Setzung, 18.–20. Mai 2020 Präsentation, 21. Mai–10. Juni 2020 Aufgrund der Maßnahmen zur Eindämmung der COVID-19-Pandemie ist ein Besuch des performativen Settings re-ASSEMBLY vom 18. bis 20. Mai 2020 nur gegen Voranmeldung möglich. Die anschließende Präsentation von 21. Mai bis 10. Juni 2020 ist zu den regulären Öffnungszeiten des Kunstraums für maximal fünf Personen gleichzeitig zugänglich. Historische, politische und soziale Mechanismen sind einem permanenten Wandlungsprozess unterworfen. Richtet man den Blick auf Details, stellen sich bestimmte gesellschaftliche Bewegungsmuster heraus. Die performative Installation re-ASSEMBLY von Michaela Schwentner erprobt, inwiefern diese Prozesse in den Ausstellungsraum überführt und damit sichtbar gemacht werden können. Dafür nutzt die Künstlerin vor Ort vorgefundenes Material und Elemente des Alltags und (re-)formatiert den Kunstraum Lakeside über mehrere Tage, wobei sie auf die Potenziale des im Titel angesprochenen Begriffs von „assembly“ als Versammlung, Ansammlung und Zusammenstellung verweist. Michaela Schwentner (* 1970 in Österreich) lebt und arbeitet in Wien. www.jade-enterprises.at
Kunstraum Lakeside, Klagenfurt

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

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posted 20. May 2020

Sigmar Polke "ZEITREISE"

06. Mar 202030. May 2020
Sigmar Polke "ZEITREISE" Photographs 1966 – 1986 | Collection Georg Polke 06.03.2020 – 30.05.2020 Galerie Max Hetzler, Berlin: Goethestraße 2/3 Galerie Max Hetzler is pleased to announce the solo exhibition "ZEITREISE" – Photographs 1966 – 1986. Collection Georg Polke with photographs by Sigmar Polke from the Collection Georg Polke at Goethestraße 2/3. In his early photographs, Sigmar Polke proves to be an experimental quick-change artist and alchemist in the darkroom. Most of the photographs have only recently been revealed, characterising Sigmar Polke as a protagonist of the art world and perceptive chronicler with a unique sense of humour. The broad set of photographs points to a life of constant companionship with the camera, and takes its viewer on a journey back in time to the late 60s and 70s up until Polke's participation in the 1986 Biennale. In numerous photographs Polke depicts his immediate surroundings: in his home, at first in Düsseldorf, from 1972 onwards at the Gaspelshof in Willich, later on in Cologne, and also of visits to vernissages and of travels. This creates “incredible documents of being present” (Bice Curiger), which bear witness to the photographer's zest for life and compassion, his alertness and presence. Life and art merge into one another in his images, whereby the Rhenish art scene of the 1970s always tended to stage itself in front of the lens. Polke defies rules in an extremely carefree way in his photography, constantly searching for ways to escape the triviality of everyday life. By processing his photographs with various technical and photochemical interventions, Polke explores the limits of the medium, leaving the sentiment of photography as a mere form of documentation far behind. He purposely blurs and disrespects exposure time, solarises, erases certain parts of the image and plays with double exposure. Spontaneously manipulating and superposing negatives, on occasion under the influence of hallucinatory substances, contributes to giving his work a particular mystical glow. Through the processing, the motifs become ambiguous and ambivalent, at the same time they are alienated by a surreal picture language and undergo a superelevation, whereby Polke's photography significantly gains characteristics of his paintings. “Polke uses deliberately produced 'mistakes' and random effects as a kind of catalyst. By doing so he creates humorous images that break from everyday life and endow a mysterious aura to the trivial.” (Dr. Fritz Emslander, Stellvertretender Direktor, Museum Morsbroich, Leverkusen, 2018) Some of the photographs in the Georg Polke Collection derive from the photographic laboratory at the Gaspelshof in Willich, which Sigmar Polke partly left to his son Georg in 1978, while another part was given to Georg Polke by his father in 1986. For many years the photographs remained fairly unknown and first came into the public eye in 2018 in the exhibition Sigmar Polke. Fotografien 70-80 at the Museum Morsbroich, Leverkusen, and were presented the following year in the exhibition Sigmar Polke's Photographic Infamies at LE BAL, Paris. The exhibition is complemented by a large-scale vitrine showcasing almost all monographic publications by and about Sigmar Polke. The vast collection (Prigge Collection, Eifel) spans all exhibition catalogues and publishing house publications as well as the majority of distributed invitation cards, leaflets and other ephemera. Apart from this it comprises rare catalogue editions, catalogues with original drawings by Polke and limited edition artist books. The bibliophile collector Thomas Prigge has been following Polke's exhibitions and publications intensively since the late 1960s and assured that he "always kept everything". Prigge's large archive cabinet contains the entire Polke collection published to date, spanning from Polke's first publication on the occasion of his first solo exhibition at the Galerie Rene Block (Berlin, 1966) to the most recent exhibition catalogues. Over many years the passionate collector rounded off his archive with true rarities – including for example the typescript of Polke's self-interview in 1966, the artist booklet on the occasion of the legendary exhibition Fünf in Köln (Kölnischer Kunstverein, 1979), published in only a few photocopies, as well as unique works, such as Polke's collaged comic Diabolik (1979) and his randomly executed klecksographs ohne Titel (Stenogramme) in a binder from 1985. The numerous publications on Sigmar Polke's photographic oeuvre are presented in display cases. Sigmar Polke (1941 - 2010), lived and worked in Düsseldorf, Cologne and Hamburg. Polke's work was part of solo and group exhibitions in renown institutions, such as Museum für Gegenwartskunst, Siegen (2018); Museum Frieder Burda, Baden-Baden (2017); Städel Museum, Frankfurt am Main (2016); Museum Abteiberg, Mönchengladbach (2015); Tate Modern, London; The Museum of Modern Art, New York (both 2014); Museu de Arte de São Paulo Assis Chateaubriand, São Paulo (2011); Hamburger Kunsthalle, Hamburg (2009); Städtische Galerie, Karlsruhe (2008); J. Paul Getty Museum, Los Angeles (2007); The National Museum of Art, Osaka, Japan (2006); Ueno Royal Museum, Tokyo (2005) and Dallas Museum of Art, Dallas (2002), among others. His works are in the collections of the Centre Georges Pompidou – Musée National d'Art Moderne, Paris; Guggenheim Museum Bilbao, Bilbao; The J. Paul Getty Museum, Los Angeles; San Francisco Museum of Modern Art, San Francisco; The Metropolitan Museum of Art, New York; Museum für Moderne Kunst, Frankfurt; The Museum of Modern Art, New York; The National Museum of Art, Osaka; Stedelijk Museum, Amsterdam and Tate Modern, London, among others.


Sigmar Polke 
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posted 19. May 2020


02. Feb 202020. Dec 2020
**HAUS MÖDRATH ist wieder geöffnet Ab 16. Mai 2020** DREAM BABY DREAM 02.02.2020 - 20.12.2020 kuratiert von Gesine Borcherdt Das Haus der Kindheit ist ein Ort der Fantasie, des Schutzes und des Spiels, aber auch des Traumas, der Gewalt und der Angst. Hier entscheidet sich, wer wir sind, was wir werden und was wir verdrängen. Der Impuls des Kunstmachens rührt bei vielen Künstlern aus der Kindheit. Frühe, ureigene Erfahrungen werden in Kunst und somit in etwas Größeres transformiert, das unseren Blick auf die Welt erneuert, weitet und ändert. Die Ausstellung Dream Baby Dream zeigt Künstler, deren Werke aus einer solchen Vorstellungskraft heraus entstanden sind. Sie weisen eine starke Bindung zur Zeit des Aufwachsens auf – als gestalterische Inspiration, aber auch als Metapher für physische, psychologische und soziale Konflikte. In ihrem Zusammenspiel entsteht eine Atmosphäre, in der die dunklen Seiten von Kindheit und Jugend neue Formen annehmen. Der Titel der Schau geht zurück auf den Song des einflussreichen Elektro-Duos Suicide, Pioniere des Post-Punk und Vorläufer von Techno. Der dunkle Sound des Songs und die Elvis-artige Stimme des Sängers Alan Vega lassen den „American Dream“, der unser Denken bis heute prägt, zu einer Alptraumschlaufe werden – und zugleich zu einem tranceartigen Hoffnungsschimmer. Rebellion und Sehnsucht, Angst und Fantasie greifen ineinander. Das Haus Mödrath blickt selbst auf eine lange Geschichte mit Kindern sowie auf einen entscheidenden Moment in der elektronischen Musik zurück. Erbaut Anfang des 19. Jahrhunderts als Herrenhaus einer Farbholzmühle mitten im Wald bei Köln, wurde es in den 1920er-Jahren in ein Wöchnerinnenheim verwandelt, wo der Pionier der elektronischen Musik Karlheinz Stockhausen geboren wurde. Unter den Nazis diente das Haus als Schulungsheim, im Krieg kamen hier Flüchtlingsfamilien unter, danach entstand ein Kinderheim mit bis zu 60 Kindern, und nach mehreren Jahren Leerstand zog eine Familie mit 15 Kindern ein. 2017 wurden daraus die Räume für Kunst. Die Ausstellung Dream Baby Dream ist die dritte Ausstellung, die hier stattfindet. U.a. mit Jean-Marie Appriou, Lynda Benglis, Susan Te Karuhangi King, Mike Kelley, Veit Laurent Kurz, Paul McCarthy, Charlemagne Palestine, Wong Ping, Barbara Rossi, Laurie Simmons, und Jean-Luc Verna. Gesine Borcherdt ist Redakteurin beim Kunstmagazin BLAU / BLAU International in Berlin sowie Kuratorin des Projektraumes CAPRI in Düsseldorf.
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posted 18. May 2020


04. Apr 202006. Jun 2020
opening: 04. Apr 2020 04:00 pm
IBRAHIM MAHAMA | VANISHING POINTS 2014 - 2020 04.04.2020 - 06.06.2020 ERÖFFNUNG: SAMSTAG, 4. APRIL 16 - 20 UHR LEIPZIG | 04179 SPINNEREISTRASSE 7 BUCHPRÄSENTATION UND ARTIST TALK: 23. MAI Für seine monumentalen Kunstwerke wiederbelebt Ibrahim Mahama ausrangierte Materialien aus kommerziellem Handel und dem Alltag Ghanas - von zerschlissenen Jutesäcken über Schulmobiliar, Schuhputzkästen, bis hin zu getrockneten Fischskeletten. Aus urbanen Umgebungen bezieht er die Werkstoffe für seine vielschichtigen Materialassemblagen die Themen von Warenverkehr, Migration und wirtschaftlichem Austausch verhandeln. Mahama weist dem Allgegenwärtigen und Alltäglichen Bedeutung zu, und beschreibt ein komplexes Archiv der Weltgeschichte und ihrer Fehlentwicklungen. Bekannt ist der Künstler vor allem für seine architekturbezogenen Großinstallationen für die er ganze Gebäude - Theater, Museen und andere monumentale Wahrzeichen - in sein Markentextil hüllt: benutzte Jutesäcke. Hergestellt in Südostasien und verwendet, um Kakao, Kaffee, Reis, Bohnen und Holzkohle auf der ganzen Welt zu vertreiben, werden die Säcke während ihrer Lebensdauer vielfältig eingesetzt. Jeder Sack wird von unzähligen Webern, Packern und Verladern angefasst, die ihren Schweiß, aber auch Namen, Daten und Koordinaten auf dem Stoff hinterlassen. In Zusammenarbeit mit lokalen Mitarbeitern näht Mahama diese Jutesäcke zu gewaltigen Stoffplastiken zusammen. Im Material manifestieren sich die Spuren von Welthandel, dem immer auch Ungleichheit und Ausbeutung innewohnen. Mahama sagt: „...mich interessiert, wie Krise und Versagen in diesem Material aufgefangen werden, mit einem starken Bezug zu globalen Transaktionen und wie kapitalistische Strukturen funktionieren“. Ibrahim Mahama, 1987 in Tamale, Ghana, geboren, lebt und arbeitet zwischen Accra, Tamale und Kumasi. Der Künstler bezieht sich in seiner Arbeit häufig auf sein Land und dessen Geschichte und leistet einen wichtigen Beitrag zur aufstrebenden zeitgenössischen Kunstszene des Landes. Im Jahr 2017 gründete er das privat finanzierte Savannah Center for Contemporary Art (SCCA) in Tamale, das Ausstellungs-, Bildungs- und Forschungszentrum, Kulturspeicher und Künstlerresidenz ist. Mahama war in der 56., 57. und 58. Ausgabe der Biennale von Venedig (2015-2019) vertreten; Seine Arbeit »A Straight Line Through the Carcass of History 1649« war ein zentraler Bestandteil des ghanaischen Debütpavillons im Jahr 2019. Zur documenta 14 (2019) in Kassel und Athen hüllte der Künstler historische, öffentliche Gebäude und Plätze für Installationen und Performances in Kohlesäcke und Planen. Im selben Jahr ersetzte er in einer Intervention für die Frieze Sculpture, die 192 UN-Flaggen die den Rockefeller Plaza in New York flankieren durch Fahnen aus Jutesäcken. Weitere wichtige internationale Ausstellungen fanden in der Norval Foundation in Kapstadt (2019); im K21, Düsseldorf (2015); im The Broad, Michigan (2015); und im Tel Aviv Art Museum, Israel (2016) statt. In 2020 wird Mahama unter anderem an der Sydney Biennale teilnehmen und eine neue ortsspezifische Installation für R E I T E R in der Spinnerei - einer historischen Baumwollspinnerei in Leipzig - realisieren. Es wird die erste Solo-Galerie-Ausstellung des Künstlers in Deutschland sein. Sie beginnt am 4. April 2020. Zum Ende der Ausstellung erscheint eine Dokumentation in Buchform.
REITER | Leipzig

Spinnereistraße 7 / Halle 6
D-04179 Leipzig

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posted 17. May 2020

Ann Greene Kelly

16. Feb 202014. Jun 2020
Ann Greene Kelly 16.02.2020 - 14.06.2020 Los Angeles–based artist Ann Greene Kelly (b. 1988) looks to the tradition of the readymade (common objects displayed as works of art), combining everyday items, such as mattresses and tires, with plaster, stone, and other sculptural materials. These unique combinations invest the objects with a sense of affection and understanding that is both distinctive and familiar, while simultaneously opening up new and engaging modes of sculpture. Likewise, her drawing practice explores the relationship between domestic, interior space; the urban, industrial landscape; and personal experience. This exhibition marks the artist’s first solo institutional presentation. Ann Greene Kelly is organized by Jamillah James, Curator. ICA LA is supported by its Curator’s Council, Fieldwork, and 1717 Collective.


Jamillah James 
ICA Los Angeles [temporarily closed]

ICA LA | 1717 E. 7th Street
CA 90021 Los Angeles

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posted 16. May 2020


16. May 202026. Jul 2020
opening: 15. May 2020 07:00 pm
MARY-AUDREY RAMIREZ 16.05.2020 - 26.07.2020 Eröffnung: Freitag, 15.05.2020 19:00 Uhr Mary-Audrey Ramirez' (*1990 in Luxemburg, lebt und arbeitet in Berlin) installative Inszenierungen belagern lebensgroße, selbstgenähte wilde und zugleich gezähmte Tierwesen, die gemeinsam mit Videos, Objekten und Stoffbildern eine fantastische Welt voller popkultureller Zitate erzeugen: Filme wie Hitchcocks Die Vögel (1963), Serien wie Game of Thrones (2011-2019) und Videospiele wie Tomb Raider (1996-2018) beeinflussen als Teile des kollektiven Bildergedächtnisses mehr oder minder subtil unsere Sicht auf Vergangenheit, Gegenwart und Zukunft sowie auf Gesellschaftsstrukturen und Geschlechterverhältnisse. Wie Menetekel der Auswirkungen der technischen Revolution auf die conditio humana veranschaulichen Ramirez‘ Arbeiten die animierten Parallelwelten als Surrogate unserer Sehnsüchte, Bedürfnisse und Träume. Gleichwohl zeugen sie aber auch von der Faszination, Lust und Freude an eben jenem Eskapismus. Kuratiert von Linda Schröer


Linda Schröer 
Dortmunder Kunstverein

Dortmunder Kunstverein | Park der Partnerstädte 2 / Brinkhoffstraße 2
44137 Dortmund

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posted 15. May 2020

John Akomfrah: Purple

13. Mar 202005. Jul 2020
John Akomfrah: Purple 13.03.2020 - 05.07.2020 Die Arbeiten des britischen Künstlers, Filmemachers und Autors John Akomfrah (*1957 in Accra, Ghana) zeichnen sich durch bildmächtige Recherchen zum Postkolonialismus, zu Erfahrungen im Umfeld globaler Migration und durch Meditationen über die weltweite ökologische Zerstörung aus. Sie weisen komplexe simultane Erzählstrukturen auf, die den Fundus kollektiver Erinnerungen befragen und in der schichtweisen Überblendung von Archivmaterial, eigenen Aufnahmen, Naturpanoramen und strukturierendem Sound höchste Wahrnehmungsintensitäten erzeugen. Im Museum Kurhaus Kleve zeigt John Akomfrah sein bisher ambitioniertestes Projekt: die einstündige 6-Kanal-Video-Projektion Purple aus dem Entstehungsjahr 2017. Sie wurde bisher gezeigt in der Barbican Art Gallery London, im Museo Nacional Thyssen-Bornemisza Madrid, im Bildmuseet Umeå, im Museo Coleção Berardo Lissabon, im Institute of Contemporary Art Boston, im Museum of Contemporary Art Garage in Moskau und hat nun in Kleve ihre deutschlandweite Premiere. Diese Arbeit kreist in eindringlichen Bildern und hypnotischen Sound-Schleifen um Aspekte des Klimawandels und dessen Auswirkungen auf menschliche Gesellschaften. Gleichwohl erschöpft sie sich nie in politischen Verlautbarungen, sondern wirkt als audiovisueller Assoziationsstrom heutiger Weltdurchdringung.


John Akomfrah 
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posted 14. May 2020

Oliver Ressler - Carbon and Captivity

16. Apr 202031. May 2020
Oliver Ressler Carbon and Captivity April 16–May 31, 2020 **link** [Film von Oliver Ressler: Carbon and Captivity](https://www.e-flux.com/video/326144/entre-presents-oliver-ressler-nbsp-carbon-and-captivity/) Entrée is pleased to present the online premiere of Oliver Ressler's new film Carbon and Captivity, on view at e-flux Video & Film from April 16 through May 31, 2020. For decades, nation states and politicians have proven unable to decarbonize the economy. Oil corporations have funded climate change denial for a quarter century while their own scientists plied them with proofs of disaster. At a moment when most people feel the effects of climate change in their own lives, oil corporations have changed their strategies and are now pushing for the generalized use of technological procedures that would allow them to continue extracting oil whilst claiming to be sustainable. Carbon capture and storage (CCS) is presented as technofix to prevent catastrophic global warming. The idea is to extract carbon dioxide in the refinery process and to transport and store it in sub-seabed formations. But CCS remains a relatively immature technology: investigations in 2013 showed cracks in North Sea seabed rocks where carbon was stored in field tests. This suggests the likelihood of leakage and the release of carbon into the atmosphere. The technology also requires a huge amount of energy and is therefore far too expensive to be applied on a meaningful scale. The world’s largest facility for testing carbon capture technologies on an industrial scale is the Technology Centre Mongstad (TCM), 67 km north of Bergen in Norway. This new film by Oliver Ressler was shot there. TCM has operated since 2012 and is a joint venture between the Norwegian state, Equinor, Shell and Total. The appeal of CCS for the fossil industries lies in the huge new subsidies it promises. The oil and gas should be left in the ground and a fully funded transition to a post-oil economy begun immediately, but the large-scale introduction of CCS would delay the necessary decarbonization, deepening our dependence on the fossil fuel industry. The film’s title refers to humanity’s “captivity” within the logic of capitalism, which seems to carry extractivism onward to the point of no return. Carbon and Captivity is structured in four chapters, introducing various perspectives through spoken voices. The film interweaves footage shot at and around the Technology Centre Mongstad with a tour through the site, a poetic-political narration text and a dense sound design. The film was planned to premiere in Oliver Ressler’s solo exhibition at Entrée, but has been moved online due to the current Covid-19 situation. On view at Entrée is a large-scale work by Oliver Ressler, visible to the public on the windows of the gallery located in the heart of the city of Bergen. Oliver Ressler (b.1970, Austria) is a filmmaker and artist based in Vienna, who works on issues such as economics, democracy, global warming, forms of resistance and social alternatives. He has completed 34 films that have been screened worldwide in thousands of events of social movements, art institutions and film festivals. He had comprehensive solo exhibitions at Centro Andaluz de Arte Contemporaneo – CAAC, Seville; Wyspa Institute of Art, Gdansk; Lentos Kunstmuseum, Linz; MNAC – National Museum of Contemporary Art, Bucharest; SALT Galata, Istanbul and at Cultural Centre of Belgrade. Ressler has participated in more than 350 group exhibitions, including Museo Reina Sofía, Madrid; Centre Pompidou, Paris; the biennials in Prague (2005), Seville (2006), Moscow (2007), Taipei (2008), Lyon (2009), Venice (2013), Quebec (2014), Jeju (2017), Kyiv (2017), Gothenburg (2019), Stavanger (2019), and at Documenta 14, Kassel, 2017 (exhibition organized by EMST).
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posted 13. May 2020


21. Mar 202016. Aug 2020
opening: 20. Mar 2020
**ab 5. Mai wieder geöffnet Die Ausstellung wird bis zum 16. August 2020 verlängert.** * **SUBJEKT und OBJEKT. FOTO RHEIN RUHR** 21.03. – 14.06.2020 Die Ausstellung SUBJEKT und OBJEKT. FOTO RHEIN RUHR betrachtet erstmalig die Bezüge der unterschiedlichen fotografischen Positionen, die sich im Gebiet der rheinländischen Metropolen sowie dem Ruhrgebiet und den dort ansässigen Kunsthochschulen seit den 1960er-Jahren herausgebildet haben. Das Besondere an diesem Ansatz ist dem Umstand geschuldet, dass sich im Westen Deutschlands eine so reichhaltige Fotoszene entwickeln konnte, welche über die letzten 70 Jahre immer wieder neue und innovative künstlerische Positionen mit zum Teil sehr unterschiedlichen fotografischen Ansätzen hervorgebracht hat. Dies geht, so die These, einerseits auf die Dichte der Kunsthochschulen und Werkschulen zurück, die sich an Rhein und Ruhr nach dem Zweiten Weltkrieg herausbildeten. Andererseits aber auch auf die künstlerische Sozialisation durch einen intensiven kunsthistorischen Diskurs, die parallel stattfindende künstlerische Entwicklung innerhalb der bildenden Kunst und die Auseinandersetzung mit Positionen der internationalen Kunst, die in den großen Institutionen in Düsseldorf, Essen, Köln, Krefeld und Mönchengladbach gezeigt wurden. Die Ausstellung vereint zentrale Positionen dreier Künstlergenerationen und zeigt die Gemeinsamkeiten und Unterschiede ihrer künstlerischen Ansätze. Vor allem werden aber auch bisher weniger betrachtete Positionen in diesem Kontext präsentiert und diskutiert und die Entwicklung einer künstlerischen Fotografie im Gebiet Rhein/Ruhr nachgezeichnet. SUBJEKT und OBJEKT. FOTO RHEIN RUHR nimmt zum ersten Mal eine methodologische wie auch chronologische Untersuchung dieser Entwicklung vor. Gezeigt werden insgesamt 90 Positionen darunter Bernd & Hilla Becher, Frank Berger, Laurenz Berges, Anna & Bernhard Blume, Rudolf Bonvie, Frank Breuer, Joachim Brohm, Hans-Peter Feldmann, Bernhard Fuchs, Andreas Gursky, Beate Gütschow, Candida Höfer, Jürgen Klauke, Astrid Klein, Detlef Orlopp, Timm Rautert, Thomas Ruff, Jörg Sasse, Otto Steinert, Thomas Struth, Martin Zellerhoff u.a. Kuratiert von Ralph Goertz mit Gregor Jansen und Dana Bergmann Mit Adler, Gosbert; Basile, Alexander; Baumgarten, Lothar; Becher, Bernd & Hilla; Beck, Max; Becker, Boris; Berges, Laurenz; Bertram, Eva; Blume, Anna + Bernhard; Bonvie, Rudolf; Borowsky, Natascha; Bottländer, Wendelin; Breuer, Frank; Brohm, Joachim; Brueck, Ralf; Brügger, Susanne; Clement, Louisa; Döhne, Volker; Dusend, Sabine; Erhard, Christine; Evers, Jan Paul; Faulhaber, Julian; Feldmann, Hans-Peter; Frick, Annette; Fuchs, Bernhard; Gelpke, André; Glischke, Edith; Goldbach, Philipp; Grebe, Stefanie; Gursky, Andreas; Gursky, Willy; Gütschow, Beate; Hanzlová, Jitka; Heinze, Volker; Hewel, Katlen; Höfer, Candida; Hütte, Axel; Jansen, Arno; Jansen, Bernd; Kamp, Irmel; Klauke, Jürgen; Klein, Astrid; Kurceren, Fatih; Lay, Alwin; Lorenz, Tamara; Maron, Knut Wolfgang; Meisterklasse Timm Rautert 2005; Mettig, Klaus; Miller, Peter; Muller, Christopher; Neuke, Angela; Neumann, Thomas; Nieweg, Simone; Neudörfl, Elisabeth; Orlopp, Detlef; Piller, Peter; Post, Johannes; Rautert, Timm; Regenberg, Max; Reich, Johanna; Riebesehl, Heinrich; Riemer, Sebastian; Robbins, Andrea + Becher, Max; Romey, Alexander; Ronkholz, Tata; Rosswog, Martin; Ruff, Thomas; Sailer, Gregor; Sasse, Jörg; Sauter, Martina; Schäfer, Morgaine; Schmidt, Michael; Schneider, Stefan; Schneidereit, Berit; Schulz-Dornburg, Ursula; Schürmann, Wilhelm; Schweizer, Helmut; Sieverding, Katharina; Steinert, Otto; Struth, Thomas; Stuth, Anett; Taleb, Niklas; Thomann, Peter; Vogel, Anna; Vogel, Walter; Wandel, Malte; Wegwerth, Moritz; Westermeier, Christoph; Williams, Christopher; Wittmar, Petra; Wolleh, Lothar; Zellerhoff, Martin
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posted 12. May 2020

Keith Sonnier, Files, Shields and Neons

24. Jan 202015. May 2020
Keith Sonnier, Files, Shields and Neons 24.01.2020 - 15.05.2020 Galerie Mitterrand is delighted to announce a new exhibition from American artist Keith Sonnier. The exhibition, entitled Files, Shields and Neons, will take place from 24 January to 28 March 2020, bringing together both early and more recent works, completed by the artist between 1968 and 2005. Keith Sonnier is a post-minimalist American artist who began his career in New York City in the 1960s, alongside other artists from Rutgers University. Sonnier redefined sculpture by using materials and techniques that were previously restricted to the hardware store. Although he may share some of the ideas of anti-illusionist sculpture with Carl Andre, Dan Flavin, or Sol LeWitt, his works have always offered a more narrative and literary aspect than those of minimalists. Early in his career, Sonnier worked with a wide variety of materials such as latex, fabric, and found objects to create sculptures which had an ephemeral and transitory quality. Starting in 1968, he was among the first artists to explore the effect of incorporating light in his work. Initially using light bulbs (incandescent light) and introducing arched neon that wrapped around the bulbs, he began creating a dialogue between architecture, environment, and lines drawn in space. For this new exhibition dedicated to Keith Sonnier's work, Galerie Mitterrand, who has represented Sonnier since 2008, is showing seven wall sculptures from the Files, Shields, and Neon Wrapping Incandescent Series. The works Veiled File I (1968) and Flocked File (1968) belong to the File series that Keith Sonnier began in 1966, before he became known for his use of light. From the starting point of a cardboard nail file wrapped in string in 1966 (Small File Study), he produced many versions of this simple form, sometimes recognizable but at times veiled, hidden, disguised, covered, or even stuffed. With these works, deliberately created with limited resources, the artist experimented with the tactile and sensual implications of surface, manually coating, wrapping, or filling. Keith Sonnier says of the origin of this series: "The idea of isolating an object in this way made me think about redefining the shape by wrapping it, kind of like adding drawing on top of it, but essentially wrapping it like a mummy. Then other ways of developing the work for the File series came after that. Things were layered. Things were stuffed. Things were filled. Touch, as opposed to concept, was crucial."1 With Neon Wrapping Incandescent I (1970), the artist entered a more emblematic and expressionist period with works that incorporated light bulbs, as well as his famous curved neon tubes. In these pieces, whose titles quite simply describe the materials and the actions involved, Keith Sonnier's lines, arches, and upstrokes reflect the sensual, or even sexual, element of his work. Three more recent works from the Botswana Junction and Elliptical Shields Series complete this overview of Keith Sonnier's work. Botswana Junction I, Botswana Junction II and Elliptical Shield Extended Arm (all completed in 2005) were inspired by the artist's interest in Africa in general, and in tribal shields in particular, whose elongated forms are replicated in these works. Since the start of his career, Keith Sonnier has been interested in the primitive arts of Africa and Asia. His appropriation and integration of these forms contributes to blurring the line between minimal and primitive art. Keith Sonnier was born in 1941 in Mamou, Louisiana, in the United States. He lives and works in New York. Since the 1980s, he has received some twenty public commissions. His work has been the subject of numerous solo exhibitions, notably at the Pompidou Centre, Paris, in 1979; the Hirshhorn Museum and Sculpture Garden, Washington, DC, in 1989; at the Neue Nationalgalerie, Berlin, 2003; and more recently at MAMAC, Nice, 2015 and at the Parrish Art Museum, Water Mill, New York, 2018. His works are included in the collections at the Whitney Museum of American Art and MoMA in New York, the Hara Museum of Contemporary Art in Tokyo, and the MOCA in Los Angeles, among others. - 1 Keith Sonnier, interview by Barbara Bertozzi Castelli in Keith Sonnier: Files, (New York: Leo Castelli, 2011).


Keith Sonnier 
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posted 11. May 2020

Le Kitsch - Matthias Schaufler & Anna Fasshauer

28. Mar 202030. May 2020
Le Kitsch with works by the painter Matthias Schaufler (*1964) and the sculptor Anna Fasshauer in cooperation with Galerie Nagel Draxler 28.03.2020 - 16.05.2020 Robert Grunenberg is pleased to announce the double feature exhibition “Le Kitsch” with works by the painter Matthias Schaufler (*1964) and the sculptor Anna Fasshauer (*1975) – two artists, who both represent an original position in their respective discipline through their intensive formal and discursive engagement with the figurative and the abstract. Where Schaufler explores the possibilities and limits of oil painting, Fasshauer experiments with the material aluminum in space. “Le Kitsch” is Schaufler’s first Berlin exhibition since 2014 and shows over 20 paintings in a variety of sizes from the past five years – a kind of mini retrospective. In the three rooms of the gallery, the show is laid out as a chronological tour from 2016 to 2020, which at the same time provides an overview of Schaufler’s latest work, as well as the development of his practice, which documents a balancing act between abstraction and figuration. “I often relate to myself negatively,” says Schaufler, describing his self-referentiality, “insofar as I do not continuously develop solutions to the problem that I once found.” Thus Schaufler always tries out new color combinations, tools such as spatulas or razor blades, sometimes he dilutes the colors, sometimes he works with more white space, sometimes he fills the canvas almost completely. Nevertheless, all of his works have a high recognition value, a signature that seems to lie in the energetic mark making of the color. For Schaufler, the act of painting often requires the use of the body. The strong movement in front of the canvas, which can range from mere gestures to physical aggression, sometimes creates brute, but also sensual and poetic forms of expression. Schaufler’s pictures are juxtaposed with four large-format sculptures by Anna Fasshauer from this year, which have a similarly high level of abstraction. In their material experiments, Fasshauer works with raw aluminum, such as is used in drywall and trade fair construction. To shape her pipe sculptures, she uses machines that are normally used for the industrial bending of metal. The wound, knotted and tangled sculptures appear as if they were sketches thrown onto paper, that then grow into three dimensions – like something that was created provisionally with a light hand. Therefore the weight, the dimensions and the machinability of the work could not be in a greater contrast. With other sculptures Fasshauer uses her body to model by literally hugging them, as in the case of the pink cuboid seen in the exhibition. The coloring comes before the molding. The mostly monochrome lacquer color of Fasshauer’s sculptures blurs the industrial character of the material from which they are made, sometimes it is in the greatest possible contrast to it, such as in the work “Tactical Reserve,” in which metallic hardness and pastel softness meet, and with its handle makes one think of a man-sized travel bag. Similar to Schaufler, Fasshauer plays with the association potential of form, which is just figurative enough that it stimulates the imagination to relate to real things. She succeeds in creating playful and humorous objects from the originally cool, technical material. The title of the exhibition is a borrowed phrase from the Austrian poet Friederike Mayröcker. She lets this phrase appear in her breathless stream of consciousness whenever poetry threatens to become too clear, because it aims to create a certain feeling without going through the mind and thus threatens to become kitsch. The works in the exhibition also have a dual nature: they are based on a high degree of reflection, at the same time they reach the senses and feelings without detour. Similar to Mayröcker’s poetry, Schaufler and Fasshauer operate outside of defined narratives that lie outside of art itself. Their art is about art and at the same time tells us something about life. Matthias Schaufler 1964 born in Laichingen, Germany lives and works in Berlin. Schaufler studied Fine Art at Hochschule für Bildende Künste Hamburg (class of Erhard Walther and Mike Hentz) and at Städelschule Frankfurt (class Martin Kippenberger). Anna Fasshauer 1975 born in Cologne, Germany lives and works in Berlin. Fasshauer studied Fine Art at the De Montfort University Leicester and received a Master of Fine Arts at the Chelsea School of Art and Design, London.

artists & participants

Anna Fasshauer,  Matthias Schaufler 
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