daily recommended exhibitions

posted 05. Mar 2021

Kandinsky

20. Nov 202023. May 2021
Kandinsky November 20, 2020–May 23, 2021 The Guggenheim Museum Bilbao presents Kandinsky, a comprehensive exhibition of paintings and works on paper of artist Vasily Kandinsky (b. 1866, Moscow; d. 1944, Neuilly-sur-Seine, France) drawn primarily from the Solomon R. Guggenheim Foundation’s rich holdings. Sponsored by the BBVA Foundation, the exhibition traces the aesthetic evolution of a pioneer of European abstraction, a renowned aesthetic theorist, and one of the foremost artistic innovators of the early twentieth century. In his endeavor to free painting from its ties to the natural world, Kandinsky discovered a new subject matter based solely on the artist’s “inner necessity” that would remain his lifelong concern. In Munich in the 1900s and early 1910s, Kandinsky began exploring the expressive possibilities of color and composition, but he was abruptly forced to leave Germany following the outbreak of World War I, in 1914. The artist eventually returned to his native Moscow, where his pictorial vocabulary began to reflect the utopian experiments of the Russian avant-garde, who emphasized geometric shapes in an effort to establish a universal aesthetic language. Kandinsky subsequently joined the faculty of the Bauhaus, a German school of art and applied design that shared his belief in art’s ability to transform self and society. Compelled to abandon Germany again when the Bauhaus closed under Nazi pressure in 1933, Kandinsky settled outside Paris, where Surrealism and the natural sciences influenced his biomorphic imagery. More so than any other artist, Kandinsky is intertwined with the history of the Solomon R. Guggenheim Foundation, established in New York in 1937. Industrialist and museum founder Solomon R. Guggenheim began collecting Kandinsky’s work in 1929 and met him at the Dessau Bauhaus the following year. This exhibition illustrates the full arc of Kandinsky’s seminal career. Divided into four geographical sections, the exhibition follows Kandinsky through critical periods of his artistic development. Curator: Megan Fontanella, Curator, Modern Art and Provenance, Solomon R. Guggenheim Museum
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posted 04. Mar 2021

VIDEONALE.18 "FLUID STATES. SOLID MATTER"

04. Mar 202118. Apr 2021
opening: 03. Mar 2021
**Festivalprogramm als Online-Format** VIDEONALE.18 im Home-Museum VIDEONALE.18 - Festival für Video und zeitbasierte Kunstformen Eröffnung: Mittwoch, 3. März 2021 Festivalprogramm: 4. bis 6. März 2021 Ausstellung im Kunstmuseum Bonn: 4. März bis 18. April 2021 Ob die VIDEONALE.18 wie geplant ihre Pforten für die Besucher*innen öffnen darf, steht noch in den Sternen – sicher ist aber bereits, dass die VIDEONALE.18 die pandemische Situation als Chance genutzt hat, ihre Programmatik neu zu denken und ihr Festivalprogramm als Online-Format weiterzuentwickeln: Die VIDEONALE.18, die im Kunstmuseum Bonn unter dem Titel FLUID STATES. SOLID MATTER stattfindet, gestaltet zusätzlich zur Ausstellung ein umfangreiches Online-Festival und Begleitprogramm. Dies umfasst Diskussionen und Gespräche, Präsentationen und Performances sowie partizipative Formate. Im Sinne eines Forums für Austausch und Dialog sendet die VIDEONALE.18 ihr Programm „live und in Farbe“ aus dem Kunstmuseum Bonn. Die VIDEONALE.18 eröffnet online am 3. März 2021 und startet mit einem dreitägigen Festivalprogramm vom 4. bis 6. März 2021. Während der Festivaltage bietet die VIDEONALE zusätzlich zur Ausstellung die 31 ausgewählten Videowerke im Stream als „Home-Museum“ an. Darüber hinaus steht Videomaterial zu den Künstler*innen, ihren Positionen sowie zur Ausstellung online zur Verfügung und eröffnet damit die Möglichkeit, sich den Werken und ihren Inhalten eigenständig anzunähern. „Das Festival richtet sich sowohl an das Fachpublikum als auch an die interessierte Öffentlichkeit und behandelt Themen, die uns alle in unserem zukünftigen Zusammenleben betreffen – den Umgang mit unseren natürlichen Ressourcen, die Stellung des Menschen in der Welt, Toleranz gegenüber unterschiedlichsten Lebensformen und ein neues solidarisches Miteinander“, so Tasja Langenbach, künstlerische Leiterin der VIDEONALE. Alle Künstler*innen der VIDEONALE.18: Paula Ábalos, Tekla Aslanishvili, Eliane Esther Bots, Viktor Brim, Adam Castle, Eli Cortiñas, Emily Vey Duke & Cooper Battersby, Mouaad el Salem, Mahdi Fleifel, Ellie Ga, Beatrice Gibson, Russel Hlongwane, Heidrun Holzfeind, Che-Yu Hsu, Sohrab Hura, Ida Kammerloch, Michelle-Marie Letelier, Dana Levy, Anne Linke, Lukas Marxt & Michael Petri, Bjørn Melhus, Ana María Millán, Michael Klein & Sasha Pirker, Morgan Quaintance, Úna Quigley, Aykan Safoğlu, Patrick Staff, Rhea Storr, Ingel Vaikla, Ana Vaz, Gernot Wieland

curator

Ingel Vaikla 
Videonale Bonn

Videonale e.V. im Kunstmuseum Bonn | Friedrich-Ebert-Allee 2
53113 Bonn

Germanyshow map
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posted 03. Mar 2021

KATHARINA SIEVERDING. FOTOGRAFIEN. PROJEKTIONEN. INSTALLATIONEN 2020–1966

05. Dec 202030. May 2021
**5. Dezember 2020 — 30. Mai 2021** Sammlung Falckenberg (5. Dezember 2020 — 2. Mai 2021) KATHARINA SIEVERDING. FOTOGRAFIEN. PROJEKTIONEN. INSTALLATIONEN 2020–1966 \#KATHARINASIEVERDINGDTH Die Deichtorhallen Hamburg zeigen auf vier Stockwerken der Sammlung Falckenberg die bisher größte Einzelausstellung der Künstlerin Katharina Sieverding. Rund 120 Arbeiten spannen einen Bogen durch alle Werkphasen der Künstlerin: Von den frühen großformatigen Fotografie-Montagen der 1960er-Jahre über die bildgewaltigen Selbstporträt-Serien und filmischen Werke der 1970er bis 1990er-Jahre bis hin zu gegenwärtigen Produktionen. Diese umfassen auch neue, bisher ungezeigte Arbeiten wie den dokumentarischen Film Metroboards über Sieverdings Kunst im öffentlichen Raum sowie das Werk Gefechtspause, das sich mit dem Lockdown während der Corona-Krise beschäftigt. Die Ausstellung FOTOGRAFIEN, PROJEKTIONEN, INSTALLATIONEN legt einen besonderen Fokus auf die ungebrochen hohe Aktualität früherer Werke und das Interesse der Künstlerin installative Zugänge zum Medium Fotografie zu schaffen. Seit mehr als fünf Jahrzehnten gehört Katharina Sieverding zu den Pionierinnen, die früh die vielfältigen Ausdrucksmöglichkeiten von Fotografie erkannt haben und das Medium fortwährend inhaltlich und formal erweitern. Im Mittelpunkt ihrer Arbeiten stehen Transformations- und Präsentationsvorgänge, Fragen nach Identität, Gender und Race. Bekannt geworden ist Sieverding durch die Konsequenz, mit der sie filmisch und fotografisch ihr zum Teil extrem vergrößertes und auf vielfältige Weise manipuliertes Porträt seit den 1960er-Jahren einsetzt. Ab den 1970er-Jahren erarbeitet sie großformatige Montagen zu den gesellschaftlichen Fragen der Zeit, sei es zur atomaren Bedrohung durch den Kalten Krieg, zur RAF, zu weltpolitischen Krisen und zwischenmenschlichen Beziehungen, zur Verarbeitung des Nationalsozialismus und zur aktuellen Corona-Krise. Dabei hinterfragt sie die beschleunigten Bildprozesse der Gegenwart kritisch im Sinne einer Verantwortung auch sich selbst gegenüber. Zu ihren bekanntesten Arbeiten zählen die 1978 entstandene Fotoarbeit Schlachtfeld Deutschland, ein Statement zur RAF-Zeit, und 1993 die Berliner Plakataktion Deutschland wird deutscher, mit der Sieverding auf die rechtsradikalen Übergriffe nach dem Mauerfall reagierte. Kurz zuvor realisierte die Künstlerin im Reichstagsgebäude die Gedenkstätte für die verfolgten Reichstagsabgeordneten der Weimarer Republik. Katharina Sieverdings Arbeiten wurden in 820 Gruppen- und 150 Einzelausstellungen gezeigt und sind in zahlreichen renommierten Sammlungen vertreten, u.a. im Museum of Modern Art, New York, im San Francisco Museum of Modern Art, im Stedelijk Museum, Amsterdam, in der Nationalgalerie, Berlin, im Museum Folkwang, Essen, und in der Kunstsammlung NRW. Das Monopol Magazin zählt Sieverding zu den 100 wichtigsten Protagonist*innen des Kunstbetriebs 2020.
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posted 02. Mar 2021

EPIC IRAN

13. Feb 202130. Aug 2021
Epic Iran will explore 5,000 years of Iranian art, design and culture, bringing together over 300 objects from ancient, Islamic and contemporary Iran. It will be the UK’s first major exhibition in 90 years to present an overarching narrative of Iran from 3000 BC to the present day. Epic Iran is organised by the V&A with the Iran Heritage Foundation in association with The Sarikhani Collection. Iran was home to one of the great historic civilisations, yet its monumental artistic achievements remain unknown to many. Epic Iran will explore this civilisation and the country’s journey into the 21st century, from the earliest known writing – signalling the beginning of history in Iran – through to the 1979 Revolution and beyond. Ranging from sculpture, ceramics and carpets, to textiles, photography and film, works will reflect the country’s vibrant historic culture, architectural splendours, the abundance of myth, poetry and tradition that have been central to Iranian identity for millennia, and the evolving, self-renewing culture evident today. From the Cyrus Cylinder and intricate illuminated manuscripts of the Shahnameh, to ten-metre-long paintings of Isfahan tilework, Shirin Neshat’s powerful two-screen video installation Turbulent, and Shirin Aliabadi’s striking photograph of a young woman blowing bubblegum, the exhibition will offer a fresh perspective on a country that is so often seen through a different lens in the news. The V&A has collected the art of Iran since the museum’s founding over 150 years ago and has one of the world’s leading collections from the medieval and modern periods. Drawing on well-known highlights as well as astonishing works that haven’t been exhibited in living memory, Epic Iran will feature works from the V&A alongside important international loans and works from significant private collections, including The Sarikhani Collection.
V&A Victoria and Albert Museum, London

VICTORIA AND ALBERT MUSEUM | Cromwell Road
SW7 2RL London

United Kingdom of Great Britain and Northern Irelandshow map
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posted 01. Mar 2021

Wyatt Kahn

15. Jan 202113. Mar 2021
Ort: Galerie Eva Presenhuber, Maag Areal, Zurich Wyatt Kahn 15.01.2021 - 13.03.2021 OPENING ON FRIDAY, JANUARY 15, 11 AM TO 6 PM Galerie Eva Presenhuber is pleased to present its fifth solo exhibition by the New York-based artist Wyatt Kahn. For the past ten years, Kahn has been shaping wooden stretchers to produce canvas-covered wall reliefs that engage and indict Modernist legacies of both painting and sculpture. With each body of work, viewers have encountered shifts in scale, geometric adjacencies, contorted shapes, saturation of color, experimentation with surface treatments, and forays onto paper. In his newest reliefs, Kahn strays from the previous two-dimensional line of advancement and initiates a third dimension in a deeper constellation. “This past year made me look back at the foundational structures of my practice and add layers of chaos on top of them,” explains Kahn. The usual cadence of shapes, which shares affinities with Harvey Quaytman’s swooning forms and the strategies of the Supports/Surfaces movement, is redirected into an echo. Planes that would usually radiate outwards, right and left, now pile up on top of each other, obstructing each other, complicating the picture with physical depth and shadowy perspective. The arcs and circles in Piled Up (Ben’s Dream) and Untitled, which harken back to Lygia Clark’s Neo-Concrete Ovo, suggest the fast passing of solar and cyclical time. The titles of particular works, such as Seated Bather or The Old Man, are nods to early Modernism’s preoccupations with lush arcadias, strewn with figures, even if we are only left with its foundational parts and limbs. Language, unspoken, unshared, or solemnly uttered in a vacuum, piles up. The way in which these new occlusions incite the body to move in a new choreography of apprehending recalls Willys de Castro, as well as Lee Bontecou. And yet, this absorption of references, forced through the simplest materials, is expressed in a visual language that is Kahn’s alone. It is an inventory of the artist’s syntax that guides us into the histories that inform his lexicon. Wyatt Kahn was born in 1983 in New York, NY, US, and lives and works in New York, NY, US. Recent institutional solo exhibitions include Variations on an object at Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Trento, IT (2016); and Object Paintings at the Contemporary Art Museum, St. Louis, MO, US (2015). The artist was also included in the group exhibition Jay DeFeo: The Ripple Effect at Le Consortium, Dijon, FR, which traveled to the Aspen Art Museum, Aspen, CO, US (both in 2018). His work is included in the collections of the Metropolitan Museum of Art, New York, NY, US; the Museum of Modern Art, New York, NY, US; the Whitney Museum of American Art, New York, NY, US; Centre Georges Pompidou, Paris, FR; Museum of Contemporary Art, Los Angeles, CA, US; Dallas Museum of Art, Dallas, TX, US; Museum of Contemporary Art, Chicago, IL, US; CCS Bard Hessel Museum of Art, Annandale-on-Hudson, NY, US; and Albright-Knox Art Gallery, Buffalo, NY, US. For further information, please contact Andreas Grimm (a.grimm@presenhuber.com) or Jill McLennon (j.mclennon@presenhuber.com). For press images and information, please contact Naomi Chassé (n.chasse@presenhuber.com).

artist

Wyatt Kahn 
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posted 28. Feb 2021

Nicole Eisenman - Giant Without a Body

05. Feb 202123. May 2021
Nicole Eisenman Giant Without a Body February 5–May 23, 2021 Astrup Fearnley Museet’s exhibition programme for 2021 begins with a major presentation of the work of American artist Nicole Eisenman. Eisenman’s largest solo exhibition in Europe to date, Giant Without a Body delves deeply into the artist’s practice from 2006 to the present and includes a number of new paintings and sculptures created over the last year. Since the 1990s, Nicole Eisenman (b. 1965) has carved out a place as a central figure in American painting, with a characteristic style that shifts between abstraction and figurative depictions of social environments. She makes use of art historical references, playfully reinvigorating elements from the Renaissance, Baroque and social realism, as well as German expressionism, linking these to the present in a highly astute and distinctive idiom. Eisenman’s works offer a colourful and celebratory first impression, but on closer inspection reveal multiple layers of meaning and intricate narratives. While many of these stories are based on characters from her own life, the artist also draws attention to larger societal issues and political frictions. With rich humour, she touches on issues such as identity, sexuality, and politics as she mixes in elements from popular culture and countercultures. Eisenman’s unique eye for the complexities of contemporary society and conflicting human emotions engenders sharp and striking observations of our modern realities. Although best known for her paintings, a broad selection of which appear in Giant Without a Body, Eisenman has in recent years begun to incorporate sculpture into her practice. The exhibition features Procession from 2019 a massive installation of nine individual sculptures that marks a shift in Eisenman’s work. In their configuration and composition, the burlesque figures form an eclectic parade of various expressions and materials. Here too, humour and satire are lurking in the background, as exemplified by the figure who occasionally emits a cloud of smoke from his rear end—a “post-Trumpian gesture,” as Eisenman puts it. About Procession, the artist has said, “I believed you could build better narrative with painting, but this work proved to me the same is possible through sculpture.” Curator: Solveig Øvstebø About the artist: Nicole Eisenman lives and works in Brooklyn, New York. Her works have featured in solo and group exhibitions at institutions such as the Museum of Modern Art, the San Francisco Museum of Modern Art, the Carnegie Museum of Art, Kunsthalle Zürich and Ludwig Museum in Cologne. In 2019, she participated in both the Venice Biennale and the Whitney Biennal. Eisenman was selected as a MacArthur Fellow in 2015 and was inducted into the American Academy of Arts and Letters in 2018.

curator

Solveig Ovstebo 
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posted 27. Feb 2021

L'homme gris

14. Nov 202006. Jun 2021
L'homme gris 14.11.2020 — 06.06.2021 There is no doubt you have already come across him on a street corner, eaten at his side, laughed at his jokes, cried on his shoulder, admired his insights. Perhaps you haven’t even noticed him, although he is always there, an aloof everyday presence, quite simply, anonymous. However, he has never shown you his true nature, you never realised he was wearing a mask, that this neighbour, this friend, this work colleague, this… anybody, could be the Devil in person. But are we not constantly searching for him in others so as not to find him in ourselves? The L’homme gris exhibition at Casino Luxembourg – Forum d'art contemporain explores non-archetypal representations of the Devil in contemporary art. Far from disappearing, his image has simply mutated, showing again his fascinating ability to adapt which has allowed him to pass through art history—and mankind—unabated. While the way in which he slips away, transforms, infiltrates allows him to claim an all-the-more dangerous, powerful, or liberating position, it offers artists two possible paths to explore. Their choice sways between the empty shell, the costume to don, the pure image, and an elusive and constant metamorphosis. This exciting alternative evokes, or perhaps, invokes, reflective illusions or the use of anonymity as strategic weapons; reveals the evil internalisation in man, and his unbearable banality; questions the boundaries between the visible and the invisible, disguise and mass; and aspires to rekindle a dark flamboyance. Creation leans, therefore, to span philosophical, economic, political, aesthetic, and moral fields. This banner casts a shadow: the one in capital letters by C. G. Jung, the one left by the worrying flight of the fallen angel, the one hiding the light and plunging the world into a morose, impassive grey, a shroud; the one, in particular, which Peter Schlemihl sold to "the grey man," and which allows him, the hapless outcast, to understand and admire—a real parable of art—the wonders of this world.
Casino Luxembourg

41, rue Notre-Dame
L-2013 Luxemburg City

Luxembourgshow map
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posted 26. Feb 2021

Haegue Yang - The Cone of Concern

15. Oct 202031. Mar 2021
Haegue Yang The Cone of Concern October 15, 2020–February 28, 2021 The Museum of Contemporary Art and Design (MCAD), Manila presents Haegue Yang: The Cone of Concern, the first solo exhibition in the Philippines of celebrated Korean artist Haegue Yang. The exhibition features her extraordinarily diverse and thought-provoking practice by presenting a number of new productions together with past work. One of the most widely shown artists of her generation in the world today, Yang is known for her prolific production in conceptual language and hybrid aesthetic vocabularies that are uniquely interwoven. Evinced through her deft handling of materials which can be understood within the language of "found objects," the "ready-made" and everyday objects, she has further widened the vocabulary of form and scale from within the parameters of traditional craft production. Her interest in phenomena foregrounds her exhibition The Cone of Concern: a complex layering of elements from various periods— two sets of newly commissioned anthropomorphic rattan sculptures, light sculptures from 2010, rotating Sonic Sculptures, whirlwind-derived patterned wall structures, textile canopies, sound elements of bird song and the cloned voice of the artist—against a lenticular print backdrop of a digitally altered meteorological image. The title of the exhibition, The Cone of Concern, refers to a graphic tool for weather forecasting which traces the course of an oncoming storm or tropical depression. By overlapping circles over the projected path of a cyclone, the resulting shape is that of a cone. What we learn from this forecast modeling tool is that the further we travel towards the future, the more our ability to predict it becomes uncertain. This fundamental view in chaos theory proposes that the degree of uncertainty increases exponentially within the parameters that dictate our future against our civilizational will. The artistic proposal in the midst of this constellation is to draw out the metaphoric towards a notion of solidarity amongst those of us facing difficult circumstances, and with human imagination, understand our very own condition in the universe. Yang’s exhibitions are intuitively linked by specific elements that flow seamlessly from one exhibition to another despite geo-political differences, or seemingly irrelevant and remote circumstances. This method draws attention to the connectedness of things through shared uncertainties and concerns. The artist has paired The Cone of Concern at MCAD with The Cone of Uncertainty at The Bass, Miami Beach, Florida, last year. The two exhibitions allude to weather-specific phenomena that affect their regions and populations. As an outsider, she sees the possibility of collaboration and community built around difficulties that can be faced together. Her multiple visits to Manila were also occasion for inspired encounters, observations and conversations. These instances resulted in a collaboration with a local workshop, producing two new ensembles of rattan sculptures, and learning about binakol, a Philippine textile characterised by a whirlwind pattern. Struck by the similarity of binakol to motifs found in many 60s Op Art pieces, she later used this pattern in four structures as wall dividers that formally delineate the museum space. This unexpected overlap of ornamental/optical abstraction both in Western art history as well as in a local craft tradition captured Yang’s attention: how established cultural constructs can exist as doppelgangers across histories and cultures, yet be entirely unrelated. She continues to be self-critical of her aesthetic orientation as tainted by a dominant Western perspective. This acknowledgement feeds her fascination with the pattern as a critically charged metaphor rather than a personal discovery of a Philippine cultural code. The language of weaving is decidedly present in the two sculptural ensembles developed between her studio in Seoul and the workshop in Manila. The anthropomorphic-sized sculptures, The Randing Intermediates – Inception Quartet (2020) suggest hybrid creatures that appear animalesque, while another set The Randing Intermediates – Underbelly Alienage Duo (2020) hints at spores and sea creatures. These sculptures also incorporate artificial plants, and are adorned with capiz shells and colourful string, wound around fan-shaped frames, as well as rattan spokes that bring to mind fairytales, mythology, animism, Cuban Santeria and Haitian voodoo. For the series The Intermediates (2015-), Yang previously worked with artificial straw weaving as a critical inquiry into the notion of folk as a conventional term to define identity and belonging as being something fixed and given in her works. The Randing Intermediates describes a new sculptural category that hews closest to the traditional practice of weaving. The weaving terminology found amid the exhibition brings out, through the artist's complex intertwining of ideas, materials and traditions, the temperamental and all-encompassing natural phenomenon of weather that speaks a language understood across countries and populations. As she sees it, "phenomena are autonomous beings with their own logic of existence … imbued with powers of association."[1] Alongside the anthropomorphic configurations is her investment in geometry and ornamentation. Yang’s affinity for juxtapositions articulates her resistance to binary models, and considers these elements in modern and ancient thought, as having rational and spiritual orientations. Her wall-mounted sculptures of two circular shapes, Sonic Rotating Identical Circular Twins – Brass and Nickel Plated #1 (2020), for example, is activated through its rotation, and the numerous bells on the discs lend the sculptures a sonic effect. The metallic rattling of bells produces a sound that calls to mind a shamanic ritual. The mezzanine floor presents her diverse graphic works, set against angled wall structures that appear set to tilt, threatening to topple a formal space into disarray. The space sectioned by slanted structures echo the folds of origami. Their angles unsettle our navigation through the exhibition and our encounter with the work, as the artist says of these structures, which were introduced in 2010 at Art Sheffield, and then at her solo show Voice Over Three at Art Sonje Center, Seoul, “...(it) enables a different type of hanging...there is an empty space below the work. Seeing this empty space and its effect was a liberating moment for me.”[2] Immersing the space is Genuine Cloning (2020) a sound piece transmitted through a polygonal fixture the artist calls a sound fruit. Working with sound has given the artist the opportunity to add her voice, albeit one cloned using AI technology. The sound thus takes on a whispering style known as ASMR. The voice then, is not her, but it is also no one, a disembodied articulation commenting on human behaviour, as it names typhoons, argues the legitimacy of this practice, and questions its own state of existence. A faint and fleeting identity of inorganic voices. This synthetic human voice is similar to her use of bird songs recorded at the historical Inter-Korean summit from the DMZ in 2018. Lifted from its original site, this, like the artist’s cloned voice, becomes a mechanical insertion into a space as a silent observer, an ever-present backdrop to the vicissitudes of the human condition. In support of this exhibition, the Museum’s free, wide-reaching educational and public programs will take hold of a range of discursive positions that will explore themes presented in the show, and seek to engage a cross-section of demographics, irrespective of art knowledge, age or race. These programs will be accessible and presented through online platforms and announced through our social media and on our website. Haegue Yang: The Cone of Concern is presented by the Museum of Contemporary Art and Design (MCAD), Manila, and supported by Goethe-Institut Philippinen, the Ministry of Culture, Sports & Tourism of Korea, Korea Arts Management Service, and Fund for Korean Art Abroad, Hyundai Card, and ifa (Institut für Auslandsbeziehungen). - - Footnotes: [1] Doryun Chong, “A Less Small Dictionary (For HY).” in Haegue Yang: Anthology 2006-2018: Tightrope Walking and Its Wordless Shadow, ed. Bruna Roccasalva (Italy: Skira, 2019), 118. [2] Yilmaz Dziewor, “Arrived, 2011,” in Haegue Yang: Anthology 2006-2018: Tightrope Walking and Its Wordless Shadow, ed. Bruna Roccasalva (Italy: Skira, 2019), 201.

artist

Haegue Yang 
Museum of Contemporary Art and Design, Manila

Benilde School of Design and Arts Campus Dominga, Malate
1004 Manila

Philippinesshow map
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posted 25. Feb 2021

Shen Wei - Painting in Motion

03. Dec 202020. Jun 2021
Shen Wei Painting in Motion December 3, 2020–June 20, 2021 The Isabella Stewart Gardner Museum announces its new, Museum-wide exhibition, Painting in Motion, featuring new and recent work, along with a world premiere film commission, from multidisciplinary Chinese-American artist Shen Wei. Shen Wei’s artistic practice draws upon both Chinese and western culture, encompassing not only dance—for which he became world-famous after choreographing the opening ceremony of the 2008 Beijing Olympics—but also painting, drawing, and filmmaking. Known for his interconnected artistic approach, Shen Wei blends various disciplines to explore aspects of spirituality, perception, and movement, while defying traditional boundaries between disciplines, geographies, and cultures. Painting in Motion, which will feature never-before-shown paintings and film, is the first North American exhibition to unite Shen Wei’s work across these various media, and to include original commissions. It is also the first time that the work of a single artist occupies all of the Museum’s rotating exhibition spaces in both the historic and new buildings. “From the moment Shen Wei and the Gardner began collaborating, we realized that his approach to art and nature was mirrored by Isabella’s Palace itself, with its intermixing of various media and its centering of natural elements in the Courtyard,” observed Peggy Fogelman, Norma Jean Calderwood Director of the Museum and co-curator of the exhibition. “At a time when the global pandemic has made us all hunger for connection and healing, Shen Wei’s art speaks to both the body and the spirit. We are thrilled to present the full range of this boundary-breaking contemporary artist and to engage our communities with the spiritual journey represented by his work.” “Shen Wei’s art focuses on discovery—the unfolding of a surprise, a new way of thinking about the forms of energy in the body and in nature that brings with it the understanding that everything is connected,” said Pieranna Cavalchini, co-curator of Shen Wei Painting in Motion and Tom & Lisa Blumenthal Curator of Contemporary Art. “We’re so delighted to share his work here at the Gardner Museum with this exhibition.” Painting in Motion will unfold across all three of the Museum’s special exhibition spaces. The Hostetter Gallery will feature Shen Wei’s recent paintings, including two works created at the Gardner Museum during his first stay as an Artist-in-Residence in 2018, as well as a new series of paintings just completed this year. It will also feature his notebooks, sketches, and documentation of his choreography to provide insight into his working process (on view December 3, 2020-June 20, 2021). In relating his work to ideas of centeredness and connection inherent in the exhibition, Shen Wei expressed, "We rebuild differently but with a same goal. Though we are in a divided space, we are synchronized in ideas. We are individual but we rebuild together." Calderwood Hall, and the Fenway Gallery in the historic Palace will serve as screening rooms for Shen Wei’s films, including April (1998), Inner Shadow of Movement (2016), and a new commission for the Gardner Museum, Passion Spirit (2020). Films will be on view from December 3, 2020-June 28, 2021. Finally, the Museum’s Anne H. Fitzpatrick Façade on the front of the building will feature Red Marker Number 1 (2020), a reimagined still image from Passion Spirit (on view November 24, 2020-June 28, 2021). The exhibition is accompanied by the catalogue Painting in Motion, authored by the show’s co-curators Pieranna Cavalchini and Peggy Fogelman, along with Barbara London and Yiling Mao. The publication is available for purchase through the Museum beginning December 2020.

artist

Shen Wei 
Isabella Stewart Gardner Museum, Boston

The Gardner | 25 Evans Way
MA-02115 Boston

United States of Americashow map
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posted 24. Feb 2021

KATJA AUFLEGER - GONE

02. Dec 202014. Mar 2021
Katja Aufleger. GONE 2. Dezember 2020 – 14. März 2021 In ihrer ersten Einzelausstellung in der Schweiz präsentiert die Künstlerin Katja Aufleger (1983*, Oldenburg) im Museum Tinguely zerbrechliche Skulpturen, gefährliche Chemikalien und Videoarbeiten aus den letzten zehn Jahren ihres Schaffens. Mit transparenten Materialien wie Glas, Plastik und bunten Flüssigkeiten, aber auch mit immateriellen Komponenten wie Klang und Bewegung entwickelt Aufleger fragile Installationen und Filme. Dabei wirken die Objekte auf den ersten Blick vertraut und anziehend, doch bei näherer Betrachtung wird klar, dass den Werken ungewisse oder gar gefährliche Spannungen innewohnen. Mit solchen Ambivalenzen übt die Künstlerin Institutionskritik, hinterfragt Machtstrukturen und Systeme. Die Ausstellung «GONE» ist bis zum 14. März 2021 zu sehen und wird von einer Publikation begleitet, die erstmals einen umfassenden Überblick zu ihrem Werk bietet. Potenzielle Destruktion In der grossen Halle des Museum Tinguely hängen an Stahlseilen drei gläserne Rundkolben von der Decke, gefüllt mit durchsichtiger Flüssigkeit. Es ist ein überdimensionales Kugelstosspendel mit dem Titel NEWTON’S CRADLE (2013/2020). Normalerweise steht es als Modell auf Schreibtischen und man kann fünf kleine Metallkugeln in Bewegung setzen und ihnen beim Pendeln zuschauen – als Demonstration kinetischer Energie. Würde man jedoch im Ausstellungsraum dazu verführt werden, dasselbe mit dem Glaspendel Auflegers zu tun, wäre die Zerstörungskraft gross, denn in den zerbrechlichen Behältnissen befinden sich die drei Bestandteile von Nitroglycerin. In der Ausstellung begegnet uns nicht nur ein überdimensionales Newton Pendel aus zerbrechlichem Glas, das somit zum Stillstand verdammt ist, sondern auch andere gläserne Skulpturen, die bunt, organisch und wulstig an harmlose Murano-Glas Vasen erinnern, aber explosive Substanzen beinhalten [BANG! (2013–2016)] oder bunte Reinigungsmittel, die sich zu einem harmonischen Farbkreis verbinden, anstatt Verfärbungen zu entfernen [AND HE TIPPED GALLONS OF BLACK IN MY FAVORITE BLUE (2014)]. Und Videoarbeiten, die eine hohe skulpturale Qualität in ihrem zweidimensionalen Medium transportieren. «The moment is GONE.» Der Titel spricht an, was die Werke von Katja Aufleger erst in den Gedanken auslösen. Die Veränderung bis hin zur Zerstörung sind in ihrem Schaffen angelegt - wenn auch meist nicht dargestellt - denn sie zelebriert diesen spannungsgeladenen, flüchtigen Moment vor einer Entscheidung. Aufleger interessiert sich für die Gleichzeitigkeit von Möglichkeiten, die uns als Betrachtende in ein Gedankenexperiment involviert. Videoarbeiten als plastische Anschauungsmodelle Während die Destruktion meist theoretisches Potenzial bleibt, zerspringt im Video LOVE AFFAIR (2017) tatsächlich Glas. Es zeigt in Nahaufnahme Leuchtkörper vor dunklem Hintergrund. Die Stille wird plötzlich von einem lauten Knall durchbrochen. Eine Lampe nach der anderen wird zerschossen. Die Spannungsentladung bleibt im unendlichen Loop gefangen und wird zu einem unregelmässigen, rhythmischen Atmen zwischen Anziehung und Gefahr. Anfangs reizvoll und vertraut, entwickelt Auflegers Kunst ihre volle Kraft, wenn der zerstörerische Moment der Veränderung einsetzt, tatsächlich oder gedanklich. In den menschenleeren Bildwelten werden die Objekte zum begehrenswerten Anderen, das aber eine dunkle Seite birgt. Aufleger lotet die Spannbreite von zutiefst menschlichen und existenziellen Fragen um intimste Beziehungen bis hin zu Naturgesetzen aus. Die Gegensätze, die sie sichtbar macht, liegen wie im alltäglichen Leben oft nah beieinander.  In der Videoarbeit THE GLOW (2019) sind Angelköder zu sehen, die durch Schwimmbecken gezogen werden. Verschiedene Unterwasseraufnahmen wechseln in kurzen Abständen, sodass sich Perspektive, Umgebung, Lichteinfall und Lockmittel immer wieder ändern. Zu hören ist ein rhythmisches Klackern oder Klicken, das manchmal zu den Bewegungen passt, dann wiederum asynchron ist. Es handelt sich um Filmausschnitte aus Angel-Tutorials, bei denen Angler*innen die verlockende Wirkung der Köder vorführen. Wie von Sirenen verzaubert, folgt man ihnen mit den Augen. Die Gummifische werden zu Marionetten in einem amüsanten Figurentheater oder zu animierten Avataren in einer digitalen Welt. Die wacklige Videospielästhetik dieser laienhaft produzierten Filme vor der Kulisse einer blau gekachelten, menschenleeren Unterwasserarchitektur wirkt apokalyptisch, und zugleich humoristisch. Multimediale und konzeptuelle Kunst Um ihre Gedankenplastiken zu materialisieren, greift Aufleger selbst zur Videokamera oder formt mit ihren eigenen Händen Ton. Doch für noch präzisere Ergebnisse lässt sie genauso ihre Ideen von Glasbläser*innen oder Programmierer*innen umsetzen. Loops, Gruppierungen und Wiederholungen erzeugen zyklische Systeme ohne Anfang und Ende. Uns bekannte Strukturen oder Methoden weidet die Künstlerin aus, befreit sie von selbstverständlicher Konnotation und füllt sie mit neuen Möglichkeiten. Sie kreiert Denkräume, die sie durch überraschende Umnutzung von Materialien erzeugt. Mit ihrer Arbeit übt Aufleger Institutionskritik, hinterfragt Rollen und überschreitet Grenzen. So stellen Kurator*innen selbst die explosiven Kunstwerke ins Museum, während das Publikum zum wichtigsten Protagonisten der Gedankenspiele Auflegers wird. Die Werktitel sind, im Sinne Marcel Duchamps, die «added colors», also eine verbale Farbe, und somit ein elementarer Teil ihrer Arbeiten. Sie eröffnen einen weiteren Horizont und ermöglichen Assoziationen.  Publikation Begleitend zur Ausstellung erscheint ein bilingualer Katalog (DE/EN), der als erste wissenschaftliche Publikation zu Katja Auflegers Werk einen umfangreichen Bildteil und theoretischen Überblick samt Werkverzeichnis über ihr bisheriges Schaffen bietet. Quinn Latimer hat einen poetischen Text über die akustische und politische Dimension ihrer Arbeit geschrieben und thematisiert damit die immaterielle Seite ihrer Kunst, während sich die Kuratorin Lisa Grenzebach der allgemeinen Strategie der Künstlerin zwischen Verführung und Zerstörungslust widmet. Das Buch ist gestaltet von Grafiker und Künstler Michael Pfisterer und erscheint im Berliner DISTANZ Verlag.

curator

Lisa Grenzebach 
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posted 23. Feb 2021

DEMO

17. Oct 202028. Mar 2021
Schindler House 835 N Kings Road West Hollywood, CA 90069 **Oct 17, 2020 – Mar 28, 2021** DEMO Nazgol Ansarinia, Margarethe Drexel, Lexis-Olivier Ray, and Yan Tomaszewski A midcentury modern house is purchased for the sole purpose of destruction. An Alpine family vacation home is dismantled brick-by-brick by the daughter of the builder. City blocks crumble and spaces become debris. In one generation, fully-formed built environments are supplanted by others. Exploring the lines between demolition, transformation, and extinction, this group exhibition—DEMO—engages four artists’ approaches to reckoning psychologically with the erasure of history that comes with the destruction of both iconic and vernacular architecture. In Southern California, where buildings are regularly thrown away and “touchstones of identity” can no longer be touched (in the words of critic Robert Bevan), how can artists move past well-tread memorializing tendencies to suggest new critical engagement with and resistance to this definitive contemporary force? Four different records and results of four different spatial ruinations are situated in the landmark R.M. Schindler Kings Road House: one in each studio, each suggesting that wrecking balls are not final acts. Tehran-based artist Nazgol Ansarinia works with the three-dimensional documents of bulldozer-induced change, as interior is forced to exterior. Innsbruck-based artist Margarethe Drexel prepares to disassemble a house in Austria and “inter” it within its own basement, repurposing the house underground as a mausoleum/terrace. Los Angeles-based artist and journalist Lexis-Olivier Ray captures the decisive moment when place is obliterated by real estate. Paris-based artist Yan Tomaszewski psychoanalyzes, through film and sculpture, the demolition of Richard Neutra’s 1962 Maslon House in Rancho Mirage, CA. DEMO is co-curated by MAK Center director Priscilla Fraser and Anthony Carfello.
MAK Center, Los Angeles

Schindler House | 835 North Kings Road, West Hollywood
CA 90069-5409 Los Angeles

United States of Americashow map
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posted 22. Feb 2021

Ian Kiaer. Endnote, yellow

14. Nov 202017. Apr 2021
Ian Kiaer. Endnote, yellow Ausstellung: 14. November 2020 – 6. Februar 2021 Verlängert bis 17. April 2021 In seiner zweiten Einzelausstellung in der Galerie Barbara Wien zeigt Ian Kiaer mehrere Werke, die er über einen Zeitraum von sechs Jahren entwickelt und immer wieder an die verschiedenen Raumsituationen seiner Ausstellungen angepasst hat. Dazu gehört die Installation Tooth House, ceiling (2014–20), die er für das Henry Moore Institute in Leeds konzipierte und die seitdem für drei andere Institutionen modifiziert und überarbeitet wurde (Focal Point Gallery, Southend-on-Sea; Kunsthalle Lingen; Heidelberger Kunstverein). Der Titel bezieht sich auf ein Projekt des österreichischen Architekten Friedrich Kiesler, das Tooth House, mit dem Kiesler biomorphe Überlegungen und tierische Gestaltungsformen in eine aus seiner Sicht zunehmend sterile Moderne einbringen wollte. Kiaers Tooth House, ceiling ist sowohl Modell als auch Zeichnung und architektonische Struktur, die sich ständig verändert. Bei jeder Neuinstallation passt sich das Deckendiagramm nicht nur an den jeweiligen Raum an, es vermehren sich auch Flecken, Markierungen und Risse in der Zeichnung. Endnote, ping (de Bretteville/Asimov) (2019) gehört zu Kiaers Projekt, das sich mit Architekturideen der amerikanischen Westküste der frühen 70er Jahre befasst. Als Teil einer losen Bewegung der „Hippie-Moderne” konzentrierten sich die Protagonisten auf utopische Ideen zum gemeinschaftlichen Wohnen. Peter de Bretteville arbeitete zusammen mit den Drehbuchautoren Richard Simon und Dyanne Asimov an einem Haus. Ihr Ziel war, eine Lösung des Bauens zu finden, die die Möglichkeiten des gemeinschaftlichen Wohnens und des autonomen Lebens jedes Einzelnen auslotete. In dieser mehrteiligen Skulptur wird das Video eines Vortrags von de Bretteville an die Innenseite eines aufblasbaren Objekts projiziert, das selbst als ein biomorpher Vorschlag für ein Wohnhaus gelesen werden kann. Aufblasbare Objekte, „Inflatables”, sind eine immer wiederkehrende und sich ständig verändernde skulpturale Form im Werk von Ian Kiaer. Die neuesten Inflatables sind Endnote, limb, das er am 3. Oktober 2020 zur Nuit Blanche in Paris im Außenbereich über einem Wasserbecken zwischen dem Musée d‘Art Moderne de la Ville de Paris und dem Palais de Tokyo zeigte, und Endnote ping, Marder (pale), ein großes Inflatabale, das Kiaer für seine Einzelausstellung im Heidelberger Kunstverein entworfen hat. Endnote ping, Marder (pale) besteht aus einer dünnen, gelblichen Plastikhaut, die aufgeblasen einen großen Teil der Hauptgalerie des Kunstvereins einnahm, sie reichte vom Boden bis zur 6 Meter hohen Decke. In der Berliner Ausstellung Endnote, yellow bringt Kiaer dieses Inflatable nun in einem viel kleineren Raum im Erdgeschoss unter, wo es, gequetscht und eingeengt, den Raum ausfüllt. Der Titel der Arbeit bezieht sich auf den zeitgenössischen Philosophen Michael Marder und ist beeinflusst von dessen Gedanken über Pflanzen – sie verweist auf die Möglichkeit eines „pflanzlichen Denkens” als Anstoß für radikale Architektur. Kiaer verwendet häufig den Begriff „Endnote” in den Titeln seiner Projekte. Er spricht dabei eine Form des Schreibens an, die außerhalb des Hauptteils eines Textes liegt. Diese Randnotizen dienen als Anmerkungen, Erklärungen zu dem, was bereits gesagt wurde, und ermöglichen eine Verbindung von Ideen, die aus Fragmenten besteht, deren Anordnung nicht gleich offensichtlich ist. Wenn man dieses Verständnis des Fragmentarischen auf Kiaers Arbeit anwendet, eröffnet sich ein Raum für Veränderungen und Überarbeitungen. Die Arbeiten berühren sich – es entstehen wechselseitige Beziehungen zwischen Malerei, Inflatables, Video und architektonischen Strukturen. Wie der Titel der Ausstellung andeutet, veranschaulichen die Werke der Ausstellung auch die Farbe gelb. Allerdings geht es Kiaer dabei weniger um die unterschiedlichen Farbtöne als um die Art und Weise, mit welchen Materialien und Qualitäten der Betrachter die Farbe Gelb assoziiert. Die neue Monografie „Ian Kiaer: Endnote, tooth” ist soeben erschienen. Sie enthält Texte von Fabrice Hergott, François Piron, Christiane Rekade und Illustrationen von Werken von 2010 bis heute (herausgegeben von Archive Books, Berlin 2020, 38 Euro). Ian Kiaer (* 1971 in London, UK) lebt und arbeitet in Oxford. Er hatte zahlreiche internationale Einzelausstellungen, u.a. im Heidelberger Kunstverein, Heidelberg (2020); Kunsthalle Lingen (2019); Musée d‘Art Moderne in Paris (2017), Neubauer Collegium, Chicago (2016); Henry Moore Institute, Leeds und Focal Point Gallery, Southend-on-Sea (beide 2014); Centre International de l‘art et du Paysage, Vassivière (2013); Aspen Art Museum (2012); Kunstverein München (2010); und Galleria d‘Arte Moderna e Contemporanea, Turin (2008). Kiaer hat an Gruppenausstellungen teilgenommen, darunter in der GAK Gesellschaft für Aktuelle Kunst, Bremen; Modern Art Oxford; frac île-de-france, Paris; Mudam Luxemburg; Tate Modern und Tate Britain, London; Hammer Museum, Los Angeles; Hayward Gallery London; sowie auf Biennalen in Rennes (2012), Lyon (2009), Istanbul (2007), Berlin (2006) und Venedig (2003).

artist

Ian Kiaer 
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posted 21. Feb 2021

Marcel Dzama - The Moon is Following Me

21. Jan 202106. Mar 2021
Marcel Dzama The Moon is Following Me 21.01. - 06.03.2021 Tim Van Laere Gallery in Antwerp is presenting the first solo show by Marcel Dzama (°1974, Winnipeg; lives and works in New York) with the gallery. The show, titled The Moon is Following Me includes a wide selection of drawings, sculptures, dioramas and a film, and marks the artist’s first solo presentation in Belgium. Drawing equally from folk vernacular as from art-historical and contemporary influences, Dzama’s work visualizes a universe of childhood fantasies and otherworldly fairy tales. His image repertoire includes a wide range of art-historical quotations, ranging from ballet costumes by Oskar Schlemmer or Francis Picabia, for example, to direct references to Francisco de Goya, Marcel Duchamp and Joseph Beuys. Dzama is also known for responding to current events with art. His Instagram feed is a treasure trove of timely drawings, from a tribute to the late justice Ruth Bader Ginsberg over a watercolor of President Trump with a golf club painted directly onto the front page of the New York Times to the recently tiny owl found in the Rockefeller Center Christmas Tree, a drawing that is included in the show. For this exhibition, Marcel Dzama started a series of drawings with more hopeful themes. "Because the Trump years were so traumatizing.” he says. Most of the work is made during lockdown both because of the pandemic but also because of rioting after George Floyd’s death. "We had a curfew here. I did a show at David Zwirner gallery in Paris where few of the drawings were there together with the series on the Pink moon, coming from the image of the moon I saw one night with my son through his telescope, it was beautiful." Chess is a recurring motif for the artist who finds inspiration in its intricate balance between improvisation and predetermination. While the game serves as an underlying theme in many of his drawings and dioramas, Dzama’s film, entitled Dance Floor Dracula, Prelude in C-Sharp Minor, more directly centers on a whimsical chess game that takes the form of a ballet, featuring collaborators Amy Sedaris as Marcel Dzama and Raymond Pettibon as David Zwirner. By using chess as a structural device, the artist makes reference to the early twentieth-century avant-garde artists Marcel Duchamp and Francis Picabia, who employed the game’s special set of rules and moves in their work as metaphors for larger questions regarding free will, chance, and strategy. Integrating this artistic precedent with a subtle, more contemporary nod to the two-party political system in the United States, Dzama’s works are simultaneously familiar and mysterious, humorous and intense, chaotic and orderly. Marcel Dzama is born in °1974, Winnipeg, Canada and currently lives and works in New York, US. Work by the artist is held in museum collections worldwide, including Centre Georges Pompidou, Paris; Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; National Gallery of Canada, Ottawa; Solomon R. Guggenheim Museum, New York; and Tate Gallery, London. The show The Moon is Following Me by Marcel Dzama is on show at Tim Van Laere Gallery, Antwerp from 21 January to 6 March 2021

artist

Marcel Dzama 
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posted 19. Feb 2021

Shaping the Invisible World - Digitale Kartografie als Werkzeug des Wissens

03. Mar 202123. May 2021
**Neue Daten: 03.03.-23.05.2021** Shaping the Invisible World Digitale Kartografie als Werkzeug des Wissens (21.01.2021-14.03.2021) Wir freuen uns sehr, die kommende internationale Gruppenausstellung Shaping the Invisible World – Digitale Kartografie als Werkzeug des Wissens anzukündigen. Die Ausstellung untersucht anhand von Kartografie die Repräsentationsformen der Karte als Werkzeuge zwischen Wissen und Technologie. Die ausgewählten Künstler*innen verhandeln in ihren Werken die Bedeutung der Karte als Massstab einer digitalen, technologischen und globalen Gesellschaft. Mit den technologischen Mitteln unserer Zeit zeigen sie Bilder und Territorien unseres Planeten, die neue Möglichkeiten für die Kommunikation und Navigationeröffnen. Die im Spannungsfeld zwischen subversiver Kartografie und digitalem Mapping verortete Ausstellung beleuchtet die Faszination für Karten hinsichtlich der Demokratisierung von Wissen und Aneignung. Indem die Künstler*innen verborgene Realitäten, wenig sichtbare Entwicklungen und mögliche neue soziale Beziehungen innerhalb eines Territoriums aufdecken, ebnen sie den Weg, unsichtbare Welten zu gestalten. Künstler*innen: Studio Above&Below, Tega Brain & Julian Oliver & Bengt Sjölén, James Bridle, Persijn Broersen & Margit Lukács, fabric | ch, Fei Jun, Total Refusal (Robin Klengel & Leonhard Müllner), Trevor Paglen, Esther Polak & Ivar Van Bekkum, Quadrature, Jakob Kudsk Steensen Boris Magrini ist seit 2017 als Kurator am HeK (Haus der elektronischen Künste Basel) tätig und ist zusammen mit Christine Schranz Co-Kurator der Ausstellung Shaping the Invisible World – Digitale Kartografie als Werkzeug des Wissens. Christine Schranz ist Co-Leiterin a.i. am Institut Integrative Gestaltung | Masterstudio Design der Hochschule für Gestaltung und Kunst FHNW in Basel.
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posted 18. Feb 2021

BEYOND STATES

22. Jan 202106. Jun 2021
opening: 21. Jan 2021 07:00 pm
BEYOND STATES ÜBER DIE GRENZEN VON STAATLICHKEIT 22.Januar – 06.Juni 2021 23.ERÖFFNUNG: Donnerstag, 21.01.2021, 19 Uhr Ist der Staat Schutzraum oder Gefahrenzone? Beherbergungsverbot, Reisebeschränkungen, innerdeutsche Grenzerfahrungen, Einschränkungen der Grundrechte sind Themen, die aktueller sind denn je. Grenzerfahrungen sind in die Lebenswelt aller massiv eingedrungen, doch nicht nur coronabedingt wird die Schutzfunktion eines Staates durch Grenzen markiert. International renommierte Künstler*innen reflektieren Fantasien bzw. Realitäten einer Staatskrise bis hin zum Staatsverfall, die sich zwischen Dystopie und Utopie bewegen. Angefangen bei rechtslibertären Ideologien, die in der Überwindung des Staates die Verwirklichung ultimativer Freiheit sehen bis hin zur Idee einer flexiblen Staatsbürgerschaft, die sich an Abo- bzw. Streaming-Portalen orientieren. Die Ausstellung wirft aber auch einen Blick auf diejenigen, die sich auf einen Zusammenbruch der staatlichen Ordnung vorbereiten wie u.a. Verschwörungstheoretiker und Prepper. Sie wirft aber gleichzeitig auch den Blick bis in das 19. Jahrhundert zurück und ergänzt die künstlerischen Positionen mit Exponaten, die Grenzen, Staatlichkeit und die damit verbundene Propaganda in der Luftfahrt thematisieren. Teilnehmende Künstler*innen: Nevin Aladağ, James Bridle, Simon Denny, Vera Drebusch & Florian Egermann, Forensic Oceanography/Forensic Architecture, Jacob Hurwitz-Goodman & Daniel Keller, Peng! Kollektiv, Christopher Kulendran Thomas, Henrike Naumann und Jonas Staal Kurator*innen: Ina Neddermeyer, Leiterin und Carline Wind, wissenschaftliche Mitarbeiterin der Abteilung Kunst im Zeppelin Museum, Jürgen Bleibler, Leiter und Felix Banzhaf, wissenschaftlicher Mitarbeiter der Abteilung Zeppelin im Zeppelin Museum.
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posted 17. Feb 2021

Miriam Cahn and Claudia Martínez Garay - Ten Thousand Things

08. Nov 202023. May 2021
Miriam Cahn and Claudia Martínez Garay Ten Thousand Things November 8, 2020–May 23, 2021 Sifang Art Museum presents Miriam Cahn and Claudia Martínez Garay: Ten Thousand Things, the first major exhibition of Swiss artist Miriam Cahn (b. 1949, Basel, Switzerland; lives and works in Stampa, Bregaglia) and Peruvian artist Claudia Martínez Garay (b. 1983, Ayacucho, Perú; lives and works between Amsterdam and Lima) in China. This exhibition is organized by Weng Xiaoyu. Ten Thousand Things brings artists Miriam Cahn and Claudia Martínez Garay into an idiosyncratic encounter across generations, geography and culture. Conceived as a two-person exhibition, Ten Thousand Things features works of painting, drawing, installation, sculpture, video, collage and site-specific mural that span both artists’ careers. The title of the exhibition borrows the ancient Chinese cosmological view of the world as exemplified in the I Ching: “Heaven and Earth interact perfectly, and the ten thousand things communicate without obstacle.” This view poetically connects the works presented in this exhibition and foregrounds the shared aspects of the artists’ practices: they rethink how we as humans connect to nature, other sentient beings, the non-human environment, and man-made systems, and how to represent such relationships. Mainly known for her works on canvas, Cahn has committed over four decades of her artistic practice to the exploration of translating emotions into the language of image-making. Contemplating contemporary human conditions, Cahn always places her human subjects in an intrinsic web of worlds of animals and plants that extend our human-centric imaginations. The resulting images are imbued with intensity that respond to trauma, war and violence, and social conflicts. Cahn describes: “I am fish, bird, hedgehog, horse,” and “my body remembers older epochs of planetary and natural history. [The glow of] the skin(s) of animals and women shows me how close I can get to animals, to women. But glowing is related to radiate, radiation, irradiated.” Martínez Garay’s works reflect on indigenous mythologies and artifacts, particularly from pre-Columbian cultures. Culminating in layered and iterative installations, her research-based practice investigates how power and violence persist through narratives fabricated by colonialist frameworks. The presentation of her work in this exhibition combines existing work and new commissions including murals, tufting tapestries and rattan animal sculptures that bridge her native Peruvian heritage with craftsmanship from local artisans. These new works and the symbolic elements imbedded in them are inspired by “Pachakuti,” a concept from Andean Cosmovision that signals a return to the initial point—as revolution, change and transformation—in a cycle that occurs in time and space. Cahn and Martínez Garay are both storytellers in their respective and distinguished modes of representation. As Cahn disavows the conventional categorizations and oppositions by creating hybrid representations of beings unidentifiable at first glance as animal or human, body or plant, female or male, horror or allure, Martínez Garay shades light on what we can relearn from ancient cosmologies to imagine new ways to understand time and space, and to relate to both beings and things. Underneath their colorful and even whimsical aesthetics, fluctuating and metamorphosing, are dynamic and uncompromising energy and force. The exhibition is supported by Pro Helvetia Shanghai, Swiss Arts Council.

artists & participants

Miriam Cahn,  Claudia Martinez Garay 

curator

Weng Xiaoyu 
Sifang Art Museum, Nanjing

Sifang Art Museum | No.9 Zhenqi Road
210000 Nanjing

Chinashow map
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posted 16. Feb 2021

Paloma Varga Weisz. Glory Hole

16. Dec 202025. Apr 2021
Paloma Varga Weisz. Glory Hole 16 December 2020 - 25 April 2021 Curated by Eric Troncy On the occasion of Paloma Varga Weisz’s first solo exhibition in France, the Consortium Museum presents Glory Hole, a monumental installation that incites visitors to indiscretion. Paloma Varga Weisz (b. 1966, Mannheim, Germany) grew up in a prolific art environment, influenced by an artist father of Hungarian descent, Ferenc Varga, and his circle of friends comprised of Henri Matisse, Jean Cocteau and Pablo Picasso. At 21 she learned woodcarving, a technique that remained at the core of her later practice. Yet Varga Weisz’s work is equally concerned with other media such as drawings, installations, watercolors, and more recently videos. A graduate of the Staatliche Kunstakademie Düsseldorf, Paloma Varga Weisz’s multiple influences range from medieval sculpture to Louise Bourgeois’s work and traditional Renaissance iconography. Inspired by her personal history and everyday life, her artworks find their embodiment inside a universe imbued with poetry, folklore and the grotesque. Sometimes erotic and often strange hybrid figures come to the surface: distorted figures, mutilated bodies, characters with multiple faces, conjoined twin torsos, disarticulated puppets… Glory Hole, the title of the installation, refers to an erotic practice where a small opening is pierced through a wall (oftentimes in public restrooms or in sex clubs) to allow for voyeuristic viewing of sexual practices or on the contrary for anonymously engaging in sexual activity by sliding a penis through the orifice. Erected in the Consortium Museum’s “White Box,” Glory Hole takes the shape of a large-scale rustic cabin, in which the roughly-assembled boards made of dark wood let slip through a few rays of light emanating from the inside. The artwork, which was shown for the first time in 2015 at the Salzburg Kunstverein (Austria) and presented more recently at the Bonnefanten Museum in Maastricht (Netherlands, 2019), is inspired by the artist’s research in the Austrian countryside, where the cabin was collected and later transported to its subsequent exhibition spaces. Impressive yet impenetrable, the installation is activated by the visitors’ curiosity. To discover its contents, viewers are invited to approach the structure and look inside through its various suggestive apertures ––gaps in construction, and the glory holes intended for that exact purpose. Through the viewers’ inquisitive eyes, two dimly lit rooms are revealed, featuring several wholly fabricated characters. Two human-size puppets, reduced to mechanical sexual gestures, are animated by cables hanging from the ceiling. These two figures highlight Varga Weisz’s sculptural skills, who often works with linden wood for its sleek touch and aspect. They also illustrate Varga Weisz’s attentive focus on questions of gender and identity; here the characters’ only role is limited to their sexual function. With a face distorted by a prominent penis, agitated by repetitive jerks, one of the sculptures embodies a ludicrous, exacerbated virility. The presence of two taxidermy monkeys adds to the absurdity of this mise-en-scène. The cabin’s environment remains familiar however, as it recalls the rural interior of an old rustic dwelling where hunting trophies are used as home décor. On the walls the heads of animals that are traditionally hunted (a boar, a deer and a pheasant) may be identified, next to domesticated ones (two hunting dog breeds). This sophisticated mise-en-scène seems to be only disturbed by the viewers’ indiscretion. Glory Hole’s narrow perspective restricts the experience of the artwork to what amounts to an indicial observation for the viewer, as some spaces remain inaccessible. This fragmentary vision calls up confusing feelings, between unease and nostalgia, triggered by a décor that resembles an obscene fairy tale. Yet as is always the case with Paloma Varga Weisz’s work, an indefinable, vivid feeling of uncanny emerges, evoking both familiar and absurd elements. The artist gathers these anthropomorphic and bestial figures alike to create a vulnerable world where the body is explored, its limbs distorted and its functions upended. Glory Hole invites the viewer to a unique experience with a strong narrative potential, making visible the artist’s interest in pure materials, technical precision and a fascination for the body. Some of the artworks in this exhibition may be disturbing to visitors, particularly children. Discretion advised.

curator

Eric Troncy 
Consortium Dijon

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

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posted 15. Feb 2021

LUDGER GERDES - THOMAS SCHÜTTE

04. Jan 202126. Feb 2021
LUDGER GERDES - THOMAS SCHÜTTE 04.01.2021 - 26.02.2021 WEITER · WARTEN ist während der Pandemie das bestimmende Kriterium für uns Menschen. Warten auf Wiedereröffnungen von Geschäften, Ausstellungen, Theater und Konzerte oder auf Impfung. 1984 gab es die Ausstellung WEITER · WARTEN mit Ludger Gerdes und Thomas Schütte in der Produzentengalerie in Hamburg. Während des lockdown zeigen wir frühe Arbeiten beider Künstler. Auf vorherige Vereinbarung können Sie die Ausstellung jederzeit alleine anschauen ( bis 26. Feb.2021)

artists & participants

Ludger Gerdes,  Thomas Schütte 
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posted 14. Feb 2021

Francis Alÿs - Wet feet __ dry feet: borders and games

28. Oct 202016. Feb 2021
Francis Alÿs Wet feet _ dry feet: borders and games October 28, 2020–February 16, 2021 Wet feet _ dry feet: borders and games brings together three interconnected projects by Francis Alÿs (born 1959 in Belgium and based in Mexico City since the 1980s), widely perceived as one of the most influential conceptual artists of our time. Structured around the artist’s interest in migration and borders, as well as his fascination with children’s games from around the world, this solo presentation shines a light on Francis Alÿs’s poetic and imaginative sensibility, which is anchored by geopolitical concerns and individual possibilities, as well as on the shift of the protagonist in his recent works from the artist himself to children. The title of the exhibition was the spark to Alÿs’s works in this exhibition: “Wet Feet, Dry Feet” refers to the 1995 US policy on Cuban refugees. Under this policy, Cuban migrants headed for the United States faced vastly different treatment depending on whether they were intercepted at sea or on land, on US soil. If intercepted at sea (“wet feet”), they would be repatriated back to Cuba; if intercepted on land (“dry feet”), they would be allowed to stay in the United States. This policy is uncannily similar to Hong Kong’s “Touch Base” policy in the 1970s, when Mainland Chinese migrants would be sent back to the Mainland if intercepted at sea or in the New Territories; only if they reached south of Boundary Street—the formal boundary between Kowloon and the New Territories—were migrants allowed to stay legally in the territory (in the quirky British sports reference, “touch base”). Expanded from the exhibition The Logbook of Gibraltar at Art Sonje Center in 2018, this exhibition for Hong Kong unfolds from Bridge/Puente (2006)—where the artist attempted to connect Havana, Cuba, and Florida, USA, with lines of boats volunteered by fishing communities and private boat owners—to its second incarnation in the Strait of Gibraltar, Don’t Cross the Bridge Before You Get to the River (2008), where groups of children depart from the shores with “shoe boats”, metaphorically connecting the two continents. These two projects are juxtaposed with Children’s Games (1999–ongoing), a collection of more than 20 documentary videos of children at play in commonplace settings and in various locations, from the streets of Mexico and the seashore in Europe, to remote villages in Afghanistan as well as a refugee camp in Iraq; these are supplemented by videos filmed by the artist in Hong Kong, as new commissions by Tai Kwun Contemporary. Without ever becoming directly involved, the artist documents children moving in their own ways and playing their games, games which also echo the rituals, symbols, insights, superstitions, and events of the specific society, culture, and locality. Children’s Games is in the vein of his artistic practice—touching poetically on conceptual displacement and alluding lightly, whimsically on politics and social engagement. Viewers can observe a poignant sense of innocence and the redemptive power of play—universal and transcending conventions, boundaries, and borders. Curators: Xue Tan, Sunjung Kim Co-presented with Art Sonje Center

artist

Francis Alys 

curators

Sunjung KimXue Tan 
Tai Kwun, Hong Kong

10 Hollywood Road, Central
Hong Kong

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posted 13. Feb 2021

MONOCULTURE – A Recent History

25. Sep 202025. Apr 2021
**25 Sep - 25 Apr 2021 ** MONOCULTURE – A Recent History The exhibition MONOCULTURE – A Recent History begins from the principle that any understanding of ‘multiculture’, should necessitate an investigation of ‘monoculture’. The societal understanding of monoculture can be defined as the homogeneous expression of the culture of a single social or ethnic group. The project seeks to approach the notion of monoculture with an open mind. It will thus aim for an analysis of, rather than an antithesis to, monoculture, approaching it not only from historical, social, cultural and ideological perspectives, but also philosophical, linguistic and agricultural ones. MONOCULTURE will provide a tentative mapping, allowing for a comparative analysis of different manifestations of monoculture, as well as their reflections in art and propaganda, seeking to draw some conclusions that might be relevant for society and culture at large. The project will set out some core questions, including: What might we mean by monoculture? What is the impetus for ‘identitarian’ or nationalistic monoculture movements who do not see, or wish, their society to be pluralistic, not just in the context of Europe but globally? Might we locate positive or even emancipatory aspirations of monoculture? Might a culturally homogeneous society also be inclusive and transformational? What lies at the fringes of monoculture, and what does it not tolerate? What may be the position of the arts within the context of monocultural ideology? Or alternatively, how might the arts look under monocultural ideology when taken to its logical conclusion? Looking at the recent relevant part through to the present day, the project will aim to address such challenging questions, beyond the tendencies and bias of liberal ‘groupthink’, as a way to consider notions of culture in a different way to established lenses such as identity politics or post-modern relativism. MONOCULTURE will formulate exploratory constellations of art, ideas and propaganda. Alongside various examples of official culture sanctioned by nation states, one of the most striking historical demonstrations of ideological monoculture in the cultural field was through the infamous 1937 ‘Entartete Kunst’ (‘Degenerate Art’) exhibition staged in Nazi Germany. Holding up the modernist avant-garde as an aberration, Nazism sought instead a decidedly unambiguous ethno-centric conception of culture inspired by a Greco-Roman imaginary. Yet monocultural conceptions of culture might also be formed through emancipatory imperatives. Some argue that a post-colonial movement such as Négritude in Senegal for example as having implemented a form of cultural homogeneity. These will be among the many case studies for exploring different trajectories and intersections of monoculture, particularly their articulation in art and ideology, from the early-20th century to the present moment. MONOCULTURE – A Recent History is part of ‘Our Many Europes’, a project of the confederation ‘L’Internationale’. Exhibition curated by Nav Haq, Associate Director, M HKA

curator

Nav Haq 
MuHKA - Museum of Contemporary Art Antwerp

MuHKA | Leuvenstraat 32
B-2000 Antwerp

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