daily recommended exhibitions

posted 20. Jan 2021

Fuckers kuratiert von Jakob Kolding

26. Nov 202006. Feb 2021
Fuckers kuratiert von Jakob Kolding 26.11.2020 - 06.02.2021 Die Ausstellung beginnt mit Schwaz und einer Reihe von Ereignissen, die die Geschichte der Stadt geprägt haben, mit einer Geschichte, die ihrerseits eine bedeutende Rolle bei der Entstehung eines Narrativs spielt, das ein so integraler Bestandteil der heutigen Welt ist, dass es unmöglich erscheint, darüber hinaus zu denken. Dieses Narrativ ist der Kapitalismus. In der Renaissance war Schwaz zeitweilig mit 20.000 Einwohnern die zweitgrößte Stadt des österreichischen Kaiserreichs, was in erster Linie auf die immensen Silbervorkommen in Tirol zurück zu führen ist, die größten Europas, über die Erzherzog Siegmund der Münzreiche verfügte. Siegmund war - wie sein Name schon sagt - Münzliebhaber und er liebte es, sie auszugeben, was ihn zu dem Kaufmann Jakob Fugger führte. Mit Sicherheiten aus den Silberminen war Fugger nur allzu bereit, die Darlehen zur Finanzierung des verschwenderischen Lebensstils des Erzherzogs zu gewähren. Siegmund wurde Jakob Fuggers Entree zum Bankier und Ermöglicher der Habsburger - von Siegmund bis Maximilian I. und später bis zu seinem Enkel Karl V.. Der Fugger verhalf den Habsburgern zu einem riesigen Reich, indem er die enormen Ausgaben für Bestechungsgelder, Kriege und Ehen finanzierte, die für den Aufstieg der Familie zur Großmacht notwendig waren. Im Gegenzug erhielt er neben einem beträchtlichen politischen Einfluss und über den Geldwert hinaus das Recht auf die Erträge aus den Bodenschätzen zurück, was ihm den Namen Jakob der Reiche einbrachte. Sein Reichtum erlaubte ihm, dem Vatikan üppige und großzügige Geschenke zu machen. Er überzeugte schließlich Papst Leo X. das Darlehenszinsverbot der katholischen Kirche aufzuheben und wurde dadurch zum Vater des modernen Bankensystems, welches die Superreichen von heute erst möglich macht. Fuckers ist keine historische Ausstellung. Sie handelt von einer Geschichte, die es wert ist, noch einmal angeschaut zu werden, weil sie immer noch geschrieben wird. Die Frage, die sich in der Ausstellung stellt, lautet: wenn wir uns kein Außen zu dieser Geschichte vorstellen können, ist es dann möglich, innerhalb derselben zu denken? Ist es möglich, Praktiken und Narrative vorzuschlagen, die sich der Logik eben dieser Praktiken und Narrative, in denen sie selbst stattfinden, verweigern? Künstler*innen Søren Andreasen, Gerry Bibby, Monica Bonvicini, Henri Chopin, Anders Clausen, Tania Pérez Córdova, emancipa(t/ss)tionsfrugten, Henriette Heise, Karl Holmqvist, E.B. Itso, Annette Kelm, Július Koller, Klara Lidén, Jonathan Monk, Ariane Müller, Dea Trier Mørch, Henrik Olesen, Anna Pech, Ulla Rossek und Wolfgang Tillmans Öffnungszeiten: Mi - Fr von 12 - 18 Uhr und Sa von 10 - 15 Uhr
Galerie der Stadt Schwaz

Palais Enzenberg, Franz-Josef-Straße 27
A-6130 Schwaz

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posted 19. Jan 2021

Thomas Demand - HOUSE OF CARD

09. Oct 202018. Apr 2021
Thomas Demand HOUSE OF CARD October 9, 2020–April 18, 2021 Is architecture a subject in the oeuvre of Thomas Demand? Or is it rather a system within his work, aimed at shaping space? These questions lie at the heart of HOUSE OF CARD. For the first time, this exhibition explicitly places architecture in relation to the artistic practice of Thomas Demand. It provides an overview of his different approaches to building over the past 15 years. Demand's works focus on the model, the décor or scenography, although his buildings are also inextricably linked to architecture. At the same time, HOUSE OF CARDhighlights the similarities between Demand's projects and those of other artists or architects such as Martin Boyce, Arno Brandlhuber, Caruso St John and Rirkrit Tiravanija. The title refers to the precariousness of Demand's practice as a builder. Whereas architecture generally equates with permanence, Demand prefers to explore the limits of the ephemeral, as is evidenced in his use of paper and cardboard. It is with these materials that Demand, in his studio, recreates full-scale models from found media images: generally witnesses of important events from a recent past. He records these models on camera and subsequently destroys them. Demand's final photographic images exhibit no traces of time or the building process; in this way they deliberately create distance in relation to the photographs they are supposed to depict. The exhibition centres on Demand’s ongoing series of “Model Studies,” works in which the concept of the model takes a central place as the space between creative idea and execution. In “Model Studies,” Demand abandons his usual practice. Here, for the first time, he does not photograph his own self-built scale models, but rather those of other artists, architects and designers, including John Lautner, SANAA (Kazuyo Sejima + Ryue Nishizawa), Hans Hollein and Azzedine Alaïa. In addition to his series of “Model Studies,” the exhibition provides an overview of Demand’s interest and involvement in architecture of the past 15 years. It presents several rarely exhibited projects, such as Black Label from 2009, Embassy from 2007 (a collaboration with the German architect Arno Brandlhuber), Nagelhaus from 2010 (a non-realized project in collaboration with Caruso St John), and the Kvadrat pavilions, designed by Demand and currently under construction in Ebeltoft, Denmark. The exhibition is curated by Valerie Verhack. On the occasion of the exhibition, a new publication will be published by M Leuven and MACK, in a design by Julie Peeters. The book contains essays by Maristella Casciato & Emily Pugh, Aude-Line Dulière, Karen Van Godtsenhoven, Valerie Verhack and Adam Caruso, and a conversation between Thomas Demand, Hal Foster and David Chipperfield. In addition, Martin Boyce, Arno Brandlhuber and Rirkrit Tiravanija made visual contributions to the book.

artist

Thomas Demand 

curator

Valerie Verhack 
M - Museum Leuven

Leopold Vanderkelenstraat 28
B-3000 Leuven

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posted 18. Jan 2021

Kevin Francis Gray

03. Dec 202013. Feb 2021
6 Burlington Gardens Kevin Francis Gray Online Preview Now Open Dec 3, 2020 – Feb 13, 2021 Pace Gallery is delighted to present an exhibition of new work by Kevin Francis Gray at 6 Burlington Gardens. On view from 25 November 2020 to 13 February 2021, the exhibition will run concurrently with a solo exhibition of Gray’s work at the Museo Stefano Bardini, Florence, Italy (on view until 21 December 2020, organized by Eduardo Secci Contemporary and MUSE). At the core of Kevin Francis Gray’s practice is an interrogation of the intersection of traditional sculptural techniques and contemporary life. Rather than working towards classical ideals of beauty, Gray relies on textural surfaces as opposed to facial or bodily expressions to imbue his sculptures with psychological realism. Furthering Gray’s decade of working with marble, this new work pushes the possibilities of the artist’s sculptural practice into new territories of physical and psychological expression. These works are intimately linked to a period of intense self-reflection in the artist’s life, which imbues them with a sense of both serenity and fragility.
PACE LONDON

6-10 Lexington Street
W1F 0LB London

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posted 17. Jan 2021

Carolina Caycedo: From the Bottom of the River

12. Dec 202012. Sep 2021
Carolina Caycedo: From the Bottom of the River December 12, 2020 - September 12, 2021 Through her studio practice and fieldwork with riverside communities impacted by large-scale infrastructure projects, Carolina Caycedo (Colombian, b. 1978) makes work that addresses humanity’s relationship with nature. Working on the front lines of social and environmental justice, she gathers materials, experiences, objects, and feelings to make her multidisciplinary work. Carolina Caycedo: From the Bottom of the River surveys the last ten years of Caycedo’s artistic practice and prominently features Be Dammed (2012– ), an ongoing multimedia project that examines the impact of hydroelectric dams and other major infrastructure projects on communities and the environment. It also features Caycedo’s powerful Cosmotarrayas, a series of net sculptures produced through fieldwork in rural areas of Colombia, Brazil, and other countries where the privatization of waterways has irrevocably altered the ability of local communities to live and work. The exhibition encompasses video, drawing, sculpture, and photography and reflects the importance of process and participation in Caycedo’s work. Informed by Indigenous philosophies, Caycedo’s work challenges us to understand nature not as a resource to be exploited, but as a living and spiritual entity that unites people beyond borders. Her innovative approach integrates her art-making practice in the studio with actions in communities affected by mining, damming, and other resource extraction projects by corporations and governments. Caycedo’s work invites viewers to consider the unsustainable pace of growth under capitalism—and how we might bolster resistance, solidarity, and cultural and environmental biodiversity. The exhibition is organized by Carla Acevedo-Yates, Marilyn and Larry Fields Curator, with Iris Colburn, Curatorial Assistant. It is presented in the Bergman Family Gallery on the museum's second floor.
MCA Museum of Contemporary Art, Chicago

220 East Chicago Avenue
Chicago

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posted 16. Jan 2021

Nathalie DJURBERG & Hans BERG. How to Slay A Demon

19. Nov 202016. Jan 2021
Nathalie DJURBERG & Hans BERG. How to Slay A Demon 19.11.2020 - 16.01.2021 November 19, 2020 - January 16, 2021 From Tuesday to Saturday; 11am-7pm (by appointment) Opening: Thursday, November 19, 2020: 11am-7pm (by appointment)

artists & participants

Hans Berg,  Nathalie Djurberg 
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posted 15. Jan 2021

August Macke - Paradise! Paradise?

30. Oct 202014. Feb 2021
August Macke Paradise! Paradise? October 30, 2020–February 14, 2021 August Macke, einer der bedeutendsten deutschen Expressionisten am Beginn des 20. Jahrhunderts, war einer der ersten Maler, der im Ersten Weltkrieg mit gerade einmal 27 Jahren schon Ende September 1914 gefallen ist. Nach dem Krieg wurde von seiner Frau Elisabeth, um einem schnellen Vergessen sogleich entgegenzuwirken, aus dem Nachlass des Künstlers eine „August Macke Gedächtnis-Ausstellung“ mit über 160 Werken organisiert, die im Herbst 1920 auch im Museum Wiesbaden gastierte. Anlässlich dieser vor exakt 100 Jahren durchgeführten umfassenden Retrospektive präsentiert das Museum Wiesbaden in enger Kooperation mit dem Kunstmuseum Bonn August Macke in all seiner Vielfältigkeit. In der Ausstellung wird Mackes stilistische Entwicklung nachvollziehbar: Ausgehend vom impulsiven Impressionismus eines Lovis Corinth, der kurzzeitig in Berlin sein Lehrer war, trug er durch seine Begegnung mit dem Fauvismus und Futurismus in Paris (Henri Matisse, Robert Delaunay) und die Zugehörigkeit zur 1911 in München gegründeten Künstlergruppe „Der Blaue Reiter“ um Wassily Kandinsky und Franz Marc einen entscheidenden Beitrag zum künstlerischen Aufbruch nach der Jahrhundertwende bei. 1910 kehrt er vom Tegernsee, wo er im Umland Münchens lebte, zurück nach Bonn. Dort entfaltete er aufgrund seiner mannigfaltigen Erfahrungen und seinem intuitiven Gespür für Farben große Wirkung auf die hiesige Kunstszene, etwa als Initiator der „Ausstellung Rheinischer Expressionismus“ im Jahr 1913. Nur ein Jahr zuvor hatte ihm die für die Entwicklung der Avantgarde bedeutende Galerie Thannhauser in München die erste Einzelausstellung ausgerichtet. Die Wiesbadener Ausstellung beleuchtet anhand sorgfältig ausgewählter Beispiele alle Schaffensphasen August Mackes. Darüber hinaus werden zudem die Medien vorgestellt, in welchen der Künstler tätig war — vom Gemälde über die Zeichnung zur Druckgrafik bis hin zu den atmosphärischen Aquarellen, die vom Thuner See in der Schweiz stammen oder während der berühmten Reise mit Paul Klee und Louis Moilliet im afrikanisch-orientalischen Tunis (April 1914) entstanden waren. Seine bildkünstlerischen Gattungen waren durch und durch klassischer Natur: Landschaft, Stillleben und Porträt. Ein besonderes Augenmerk der Werkschau liegt auf dem positivistischen Menschenbild des Künstlers, das sich nicht nur in seiner Aktkunst offenbart, sondern auch und gerade in seinen vielen Darstellungen des Menschen in der Natur oder dem modischen Flaneur, der sich in den Schaufenstern der Großstadt prismatisch gebrochen schillernd spiegelt. Beschlossen wird die 80 Werke umfassende Retrospektive mit Beispielen seiner abstrakten Kunst und angewandten Entwürfen sowie Arbeiten der Maler, die er von Bonn aus im Rheinland — darunter etwa Heinrich Campendonk oder Heinrich Nauen — inspirierte. All seine Werke ließen diesen Ausnahmekünstler letztlich, obwohl ihm lediglich zehn Jahre zur Entfaltung blieben, zu einer eigenständigen Stimme im Orchester der Maler werden, die mit aller Macht und dennoch (hier hebt er sich von den anderen Avantgardekünstlern seiner Zeit ab) auf harmonische Art und Weise die Konventionen des ausgehenden 19. Jahrhundert überwinden wollten.

artist

August Macke 
Museum Wiesbaden

Friedrich-Ebert-Allee 2
65185 Wiesbaden

Germanyshow map
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posted 14. Jan 2021

Helmut Schweizer, Hiroshima_Endlager [1945-2020]

08. Nov 202021. Feb 2021
opening: 07. Nov 2020
**Helmut Schweizer, Hiroshima_Endlager [1945-2020]** 08.11.2020 - 10.01.2021 - bis zum 21.Februar verlängert Vernissage draußen am Samstag 07.11.2020 um 17 - 19 Uhr Unsere aktuelle Ausstellung Helmut Schweizer Hiroshima_Endlager (1945-2020) haben wir aufgrund positiver Resonanz bis zum 21.Februar verlängert. Besuchskonzept: Corona geschuldet sind die Werke so aufgebaut, dass sie jederzeit von außen durch die Fenster der Künstlerloge bestens wahrgenommen werden können. Jeden Morgen Punkt 8:15 Uhr – dem Zeitpunkt, als die Besatzung des US-Bombers Enola Gay die erste Atombombe der Menschheitsgeschichte, Kosename ‚Little Boy‘, abwarf – dreht sich für 4 Minuten eine grün strahlende Wolke aus Glas im Wind. Täglich um 16:00 Uhr, bei einbrechender Dunkelheit, erstrahlt dann die gesamte Installation für 5 Stunden in ultraviolettem Licht und aus dem Inneren klingen Nachtigall, Buckelwal und Katzen. Die Künstlerloge möchte allen eine Abwechslung zum monotonen Covid-Alltag bieten und freut sich Ihnen dieses aktuelle, vom Künstler für seine Präsentation in der Künstlerloge entwickelte, Ensemble nun noch weitere 6 Wochen lang zeigen zu können..
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posted 13. Jan 2021

Barbara Kasten: Scenarios

16. Oct 202004. Apr 2021
Barbara Kasten: Scenarios Oct 16, 2020–Apr 4, 2021 For over forty years, Barbara Kasten has created photographs and sculptural installations that play with our sense of perception and explore the interplay of light, shadow, color, and form. Kasten (b. 1936, lives and works in Chicago) is best known for abstract photographs that she has made since the 1970s, in which she investigates the mechanics of photography and the visual experience of constructed space. Important influences on Kasten’s work include the modernist architecture of her native city of Chicago, Constructivism, and the interdisciplinary approach of the Bauhaus school, in particular the work of László Moholy-Nagy. In recent years, Kasten has worked increasingly with video projections and acrylic forms, creating vibrant installations that combine sculpture and video to explore the three-dimensional, architectural space that was the hallmark of her earlier photographic work. The AAM exhibition Scenarios celebrates Kasten’s expansive body of sculptural non-photographic work, through which the artist extends her exploration of spatial constructions into the viewers’ space and experience.Among the works in the AAM exhibition will be examples from Kasten’s recent series Progressions (2017 onward), in which the artist affixes fluorescent acrylic shapes to the surfaces of her face-mounted photographs, creating a colorful and dynamic interplay between the sculptural relief elements and the acrylic forms depicted in her photographs. The site-specific work Elevation, installed outside of the galleries, interacts with AAM architect Shigeru Ban’s exterior grid of the woven slats that wrap around the museum. Scenarios will also mark the first museum exhibition in the United States to include three of the artist’s ambitious video installations, making it the most comprehensive presentation of Kasten’s non-photographic work to date. This exhibition is curated by Max Weintraub, AAM Curator at Large.

curator

Max Weintraub 
Aspen Art Museum

AAM - Aspen Art Museum I 590 North Mill Street
Colorado 81611 Aspen

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posted 12. Jan 2021

FARSA. Language, fracture and fiction: Brazil-Portugal

20. Oct 202030. Jan 2021
FARSA. Language, fracture and fiction: Brazil-Portugal October 20, 2020–January 30, 2021 Under the general curatorship of Marta Mestre and the adjunct curatorship of Pollyana Quintella, the exhibition FARSA [farce] began to receive visitors this past October 20, at Sesc Pompeia, in São Paulo. The exhibition, which also features contents made especially for the digital medium, takes a look at the “fractures” and “fictions” of the language, in the historical context of Brazil and Portugal. Presenting works by more than 50 artists, the show investigates the supposed linguistic unity of the two countries, counterposing various strategies for the deconstruction of art in both, through experimental works from the 1960s and ’70s, as well as proposals by contemporary artists. As an interplay of questions and answers, the exhibition tensions the idea of an open history and interrogates the “colonial unconscious” of that which is culturally divided and fragmented. With a view to the complexity of what is langue and language, FARSA considers fragmentation and polyphony through myriad utterances not aligned with the universal discourses. According to chief curator Marta Mestre: “The title points to an irony, a twisting of meanings. It evokes a dimension of parody while exposing an open wound, with the aim of reinforcing the ambiguity in the fracture that the langue and the language establish.” Pollyana Quintella, the show’s adjunct curator, believes that “as it is not possible to exist outside language, it is through it that we organize reality and test ways for living colllectively.” By relating artists who share a common idiom, the show underscores the poetic and political uses of the word (through visual poetry, one of the rare examples of reciprocal confluence and experimentation between the two countries) and also of photography, cinema, performance, and installation, while also presenting digital languages. In this sense, the works featured in FARSA emphasize the viral dimension of language nowadays, which ranges from fake news to “memes,” while also including linguistic hegemonies or the use of the abject and the scatological in the current political scene. Attentive to the cultural unconscious of the colonizing processes, FARSA reacts to the imposition of single, universal patterns of language, and suggests their ability to illude the still remaining logics. FARSA reveals various poetic reasonings and proposes an overlaying of contrasts between expressive pluralities. Contesting politics of exclusion, repression or subjugation, while also questioning the advances of nationalist and populist discourses that are currently gaining greater force, FARSApoints to the richly diverse and powerful processes for the transformation and reconfiguration of language as strategies for adaptating to the realities and their latent demands. The exhibition is anchored in three curatorial sections. The first, titled “Glu, Glu, Glu” [Gobble Gobble Gobble] features works that approach the idea of langue and language as a deconstruction machine. Thus, as a voracious mechanism for the swallowing and excretion of meanings, it does not bring discourse into the fore, but rather fragments and slices of reality, expressive in words and bodies. The second section, “Outras galáxias” [Other Galaxies] evokes the dystopian turning point in the 1960s and 1970s, in literature and in the visual arts, which exposed the destructive power of humanity and the planet in order to emphasize the urgent need to plan faraway futures through science fiction and ecology. For its part, the third curatorial section, “Palavras mil” [A Thousand Words], presents works that deal with poetry and revolution, many of them having to do with the transition between dictatorship and democracy in Portugal and Brazil. They approach the political, intimate and collective gesture through the written or performed manifesto, through the visuality of the social struggles, or through the desirous sounds of the streets. Therefore, by featuring emerging artists (such as Aline Motta, Ana Pi, Denise Alves-Rodrigues, Mariana Portela, Jota Mombaça, Grada Kilomba, Von Calhau!, Yuli Yamagata, Katú Mirim, Lúcia Prancha, Sara Nunes Fernandes, Rita Natálio, and many others) alongside established names in Brazilian and Portuguese contemporary production (Helena Almeida, Gretta Safarty, Ana Vieira, Carla Filipe, Alexandre Estrela, E. M. de Melo e Castro, Ana Hatherly, E. M. de Melo e Castro, Francisca Carvalho, Renata Lucas, Túlia Saldanha, Lygia Pape, Salette Tavares, Thereza Simões, Mira Schendel, Paulo Brusky, Paula Rego, Regina Vater and Andrea Tonacci, just to name a few), FARSA evidences the power and multiplicity of the cultural formations. At this moment, in-person visitation to exhibitions at units of Sesc São Paulo is only possible through previous scheduling online and follows the protocols established by the local authorities for the combat of COVID-19.
SESC SAO PAULO / SESC AVENIDA PAULISTA

Servico Social do Comercio - Sesc | Visual Arts and Technology Department | 991 Alvaro Ramos Avenue
03331-000 Sao Paulo

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posted 11. Jan 2021

RICHARD PRINCE: CARTOON JOKES

12. Nov 202016. Jan 2021
RICHARD PRINCE: CARTOON JOKES Nov. 12, 2020 - Jan. 16, 2021 Jokes and cartoons are part of any mainstream magazine. Especially magazines like the New Yorker or Playboy. They're right up there with the editorial and advertisement and table of contents and letters to the editors. They're part of the layout, part of the "sights" and "gags!" Sometimes they're political, sometimes they just make fun of everyday life. Once in a while they drive people to protest and storm foreign embassies and kill people. – Richard Prince * NEW YORK—Nahmad Contemporary is pleased to present Richard Prince: Cartoon Jokes, the first exhibition dedicated to the artist’s brazen, large-scale Cartoon Joke paintings. On view from Nov. 12, 2020, through Jan. 16, 2021, the presentation features an impressive selection of works created between 1988 and 1991 from this notably rare series that appropriate irreverent humor and mark Prince’s cunning foray into painting. The presentation also debuts five recent paintings of cartoon jokes from the artist’s body of work, Blue Ripples, created between 2017 and 2019. CARTOON JOKES (1988 -1991) Throughout his career, Prince has mined popular culture to address American societal conventions while boldly dismantling notions of authorship. Having previously dedicated his practice to photographic appropriations of media and advertisements, the artist turned his attention to cartoons in 1984 with a series of simple drawings copied verbatim from The New Yorker. Shortly thereafter, he separated the found cartoons from their captions and paired them with unrelated punch lines to create novel, enigmatic narratives. Engaging the macabre nature of classic American and Borsch-Belt comedy, Prince refined his repertoire of culled material to a distinct selection of jokes and cartoons that addresses stereotypes, sexuality, infidelity and embarrassment. Parlaying his notorious appropriative strategies into painting, Prince silk-screened the disjointed cartoons and jokes together onto monumental canvases beginning in 1988. At the focus of the exhibition are the paintings rendered in dynamic, monochromatic hues of orange, red, burgundy, or green, that highlight the artist’s innate mastery of color from the onset of his engagement with the medium. These works shocked and defied the expectations of the art world that was accustomed to his photographic legacy. Made during a period defined by a revival of expressionistic, gestural painting, the series marks Prince’s singular approach to the medium by way of bleak, witty cartoons and one-liners that denounce the grandiose, dramatically painterly style that dominated the New York art scene. BLUE RIPPLES (2017-2019) Created almost 30 years later, five paintings from Prince’s Blue Ripples series are presented for the first time. While these recent large-scale canvases appropriate satirical cartoons similar to the Cartoon Jokes, the salacious illustrations are partially obscured by large, amorphous swathes of blue pigment. Recalling the unfettered legacy of abstract expressionists, the organically shaped pools of paint were poured over pages torn from Playboy magazines published between 1960 and 1980. The resulting painterly works on paper were then methodically scanned, enlarged, and printed on canvas, eschewing the original act of creation and building on the artist's legendary defiance of the conventional medium. The exhibition will be accompanied by a comprehensive catalogue produced in collaboration with the artist and featuring scholarly texts and archival materials.
NAHMAD CONTEMPORARY New York

980 Madison Avenue
NY 10075 New York

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posted 10. Jan 2021

Trevor Paglen - Unseen Stars

10. Oct 202010. Jan 2021
Trevor Paglen - Unseen Stars Curated by Ilaria Bonacossa with Valentina Lacinio Exhibition Partner: Goethe-Institut of Turin 10.10.2020 - 10.01.2021 Trevor Paglen has created a series of non-functional satellites that are both sculptural and evocative of our relationship with Space and the politics that govern its colonization. Developed in collaboration with aerospace engineers, the Satellites are Space-worthy sculptures designed as small, lightweight satellites that expand to become large, highly reflective structures. Placed into low-earth orbit these objects would become sculptures in the night sky, visible from earth after sunset and before dawn as a bright, slowly moving star. The formal aspect of these sculptures articulates a response to the question of what aerospace engineering would look like if its methods were decoupled from the corporate and military interests. The exhibition in OGR becomes an answer to the discussions on Paglen’s Space investigation questioning the relationship between contemporary art and science by pushing the audience to “re-envision” Space as a place of possibility.

artist

Trevor Paglen 
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posted 09. Jan 2021

Nicanor Araoz

01. Oct 202028. Feb 2021
Nicanor Araoz A central reference in the Argentine contemporary art scene with international projection, the young artist Nicanor Aráoz is characterized by the material and spatial sophistication of his surprising sculptures, installations, videos and performances. His work stands out for the enormous scale of its installations and settings that cover styles such as gothic and gore from a contemporary perspective and make the show the ideal setting to project a dystopian imagination. His works offer a visual experience with an intensity typical of dramatic atmospheres. For the Modern Museum, in his first major institutional exhibition, the artist will develop a large-scale setting linked to reflections on rituals, the body and matter. This project originates from the artist's interest in sacred architectures and asks about the relationship between dance and sculpture, through operations of surprising association between images of current culture, with influences from comics and the graphic culture of the masive means of comunication. Nicanor Aráoz (Buenos Aires, 1981) participated in the Artists Program of the Di Tella University in 2010, in the fifth edition of the Kuitca Scholarship in 2011 and in the International Residency Program of the ISCP in New York in 2017. Among his latest solo exhibitions include "Scarlet Placenta", Barro Arte Contemporáneo, Buenos Aires, 2018; "Because I'm never what I have", Emily Harvey Foundation, New York, 2017; "Genetic Anthology", Universidad Torcuato Di Tella, Buenos Aires, 2016. He has also exhibited at the Museum of Modern Art in Buenos Aires, La Tabacalera in Madrid and the Castello Di Rivoli in Turin, among others. In 2016, Mansalva publishing house published the book Nicanor Aráoz: Genetic Anthology of his work.

artist

Nicanor Araoz 
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posted 08. Jan 2021

From A to B. Von Straßen, Highways und Datenströmen

06. Dec 202007. Mar 2021
From A to B. Von Straßen, Highways und Datenströmen Laufzeit: 6. Dezember 2020 – 7. März 2021 Pressekonferenz: Freitag, 4. Dezember 2020, 11 Uhr Mit einem Screening von Magnum Photos/Paris und Werken von Sue Barr, Thomas Bayrle, Julius Brauckmann, James Bridle, Ingrid Burrington, Emma Charles, Frauke Dannert, Hans Gremmen, Uschi Huber, Taiyo Onorato & Nico Krebs, Catherine Opie, Kathy Prendergast, Hans-Christian Schink, Henrik Spohler, Katja Stuke & Oliver Sieber, Clement Valla, Mels Van Zutphen. Kuratiert von Heide Häusler (Ausstellungskuratorin) zusammen mit Fritz Emslander (Museum Morsbroich). Bitte merken Sie sich diesen Termin vor. Wir hoffen, dass die Museen im Dezember wieder öffnen können und wir Sie am Freitag, 4. Dezember 2020, 11 Uhr, im Museum Morsbroich zur Pressekonferenz begrüßen können. In diesem Fall erhalten Sie am 30. November nochmals eine Bestätigung des Termins mit der Aufforderung zur Anmeldung und weiteren Informationen. In einer Welt, in der Informationen und Dienstleistungen in kürzester Zeit über Datenhighways befördert werden, erscheinen gebaute und geteerte Straßen fast wie Relikte einer vergangenen Zeit. Die Natur der Straße liegt in der Verbindung eines Starts A mit einem Ziel B – eine urtypische Bewegung. Sie geht einher mit der Grundannahme, dass sich unsere Welt linear entwickelt und stetig fortschreitet – so wie wir uns auf der Straße bewegen, um entfernte Ziele zu erreichen, entwickeln wir uns auch im besten Fall weiter. Der Bau von Straßen erzählt in der Kulturgeschichte der Menschheit vom Siegeszug dieser linearen Perspektive: Man wollte immer weiter, mit immer mehr Personen und Waren auf immer mehr Straßen. Nun scheinen wir uns im Zuge einer fortschreitenden Digitalisierung aber immer weiter von der Idee einer linearen Struktur zu entfernen – hin zu einem Fluidum totaler Vernetztheit. Wir erleben selbst tagtäglich, dass ein geordnetes Nacheinander immer schwieriger zu fassen ist, dass lineare Narrationen aufbrechen und die Simultanität vieler Möglichkeiten vorherrscht. Die Ausstellung From A to B reflektiert vor diesem Hintergrund das Motiv der Straße und das Konstrukt einer Linearität, das sich in ihm manifestiert(e). Sie befragt dessen Relevanz und Bedeutung für die Welt des 21. Jahrhunderts und tut dies in der einst im Geiste der Wirtschaftswunder-Pioniere autogerecht umgebauten Industriestadt Leverkusen (auf die mit dem aktuellen Autobahnausbau von A1 und A3 einer der größten und herausforderndsten Baumaßnahmen Nordrhein-Westfalens zukommt). Als Auftakt der Ausstellung führt eine Großprojektion mit Werken von 42 Fotografen der Agentur Magnum in die verschiedenen Zuschreibungen der Straße ein. Seit den 1950er Jahren haben diese auf der ganzen Welt Straßen und Autobahnen aufgenommen, ihre Konstruktionen und Nutzungen. Die Straße erscheint verdichtet zu einem Symbol für Bewegung und Fortschritt, nicht selten auch für Flucht, Entkommen und territoriale Erweiterung. Straßen wecken Sehnsüchte und lassen ein anderes, besseres Leben projizieren. Die Bewegung auf Straßen und Highways, fahrende Autos und transportierte Güter signalisieren Wohlstand und Entwicklung, sie machen den Menschen zu einem handelnden Subjekt – die ideale Vision von demokratischer Mobilität: die effiziente, schnelle Verbindung von Privatwagen und öffentlicher Autobahn. Was erzählen diese Straßen über die Zivilisation ihrer Erbauer? Was sind die Gründe, Motivationen, Ziele für die Errichtung unzähliger betonierter Trassen, die Landschaften durchschneiden und netzartig unsere Städte durchziehen. Was sind die Konsequenzen? „From A to B" zeigt Werke von Künstlerinnen und Künstlern, die das Motiv der Straße oder des Highways abbilden, es untersuchen, in Frage stellen, sich ihm verweigern oder das lineare System, das die Straße prägt, weiterentwickeln. In einer Vielzahl von Straßen- und Autobahnbildern wird die pragmatisch von A nach B führende Straße als (einstige) Fortschritts-Metapher reflektiert und ihre allmähliche Transformation in die virtuellen Welten der Datenhighways aufgezeigt.
Museum Morsbroich, Leverkusen

Gustav-Heinemann-Strasse 80
51377 Leverkusen

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posted 07. Jan 2021

Michaela Eichwald

01. Dec 202016. May 2021
Veranstaltungen zur Ausstellung sind bis auf Weiteres verschoben. Michaela Eichwald 1. Dezember 2020 – 16. Mai 2021 Wie sich der Malerei malend ein Schnippchen schlagen lässt, ist eine der kniffligeren Fragen der Kunst. Das Rheinland der 1980er und 1990er Jahre – dort studierte Michaela Eichwald und begann ihre künstlerische Laufbahn – ist bekannt für eine Generation von Künstler*innen, die diese Frage frontal verhandelte. Damit einher ging eine Formulierung des künstlerischen Subjekts als Witzfigur, die ihr pathetisches Scheitern angesichts der Kunstgeschichte und der Warenförmigkeit zeitgenössischer Kunstproduktion selbstironisch, und im Werk sichtbar, ins Spiel brachte. Die Arbeit dieser Vorgängergeneration ist für Eichwald keineswegs belanglos. Doch tritt in ihren Werken kein selbstbezügliches Künstlerinnen-Ich auf den Plan, noch wird die kompromittierte Rolle der Malerei in hochtourig kommerzialisierten Zeiten erkennbar auf der Motivebene verhandelt. Vielmehr tragen sich die "grundsätzlichen und unerschöpflichen Probleme der Kunst" (Eichwald) in ihren Werken zwischen Material und Form aus. Für ihre Malereien verwendet die Künstlerin bevorzugt synthetische Trägermaterialien wie Kunstleder und PVC. Statt wie die klassische Leinwand als neutraler Hintergrund zu dienen, auf dem sich das malerische Ereignis ungestört Bahn brechen kann, stehen das Straußenlederimitat in Bürobeige oder der Autohimmelstoff mit Glitzereinschlüssen diesem Ereignis gewissermaßen von vornherein im Weg. Zu dieser erkennbar zeitgenössischen Warenästhetik der Stoffe verhält sich Eichwalds meist ungegenständliche Formensprache mal anschmiegsam, mal abstoßend, so wie es ihre verschiedenen Malmedien tun (Acryl, Lack, Wachs, Aquarell, etc). Die Künstlerin feilt an Methoden, die auch das fertige Werk, sei es ein Gemälde, ein Text, eine Skulptur oder Fotografie, nicht als unerschütterliche Behauptung erscheinen lassen: "Mehr Unabgesichertes versuchsweise äußern. Mehr Leben, mehr Ausdruck, mehr Unverständlichkeit", beschreibt sie ihren Ansatz in einem Interview. Ein produktives Streunern zwischen den Disziplinen – Schreiben, Malen, Fotografieren – zeichnet ihre Arbeit aus. Augenfällig wird dies unter anderem in ihren ungewöhnlichen und beredten Werktiteln, die aus einer Vielzahl an Quellen stammen – von mittelalterlicher Mystik über zeitgenössische Lyrik und bürokratische Stilblüte bis hin zur dadaistischen Wortkette. Im Lenbachhaus sind Gemälde und Skulpturen der vergangenen drei Jahre zu sehen. Das Gros der Werke ist eigens für die Ausstellung entstanden. Michaela Eichwald ist 1967 in Gummersbach geboren. Ab 1987 studierte sie in Köln Philosophie, Geschichte, Kunstgeschichte und deutsche Philologie. Ihre ersten Texte veröffentlichte sie in den 1990er Jahren, noch bevor sie zu malen begann. Monografische Ausstellungen fanden statt, u.a. am Palais de Tokyo in Paris, dem Kunstverein Schwerin und dem Kunstverein Aachen. Das Walker Art Center in Minneapolis zeigt bis Mitte Mai 2021 eine Einzelpräsentation der Künstlerin. Kuratiert von Matthias Mühling und Stephanie Weber Die Ausstellung ist entstanden in Kooperation mit der Kunsthalle Basel Ausstellungsdaten in der Kunsthalle Basel: 1. Oktober 2021 bis 2. Januar 2022
Lenbachhaus, München

Luisenstraße 33
80333 Munich

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posted 06. Jan 2021

Jahresgaben 2020

01. Jan 202131. Dec 2021
Jahresgaben 2020 Halle fuer Kunst Lueneburg freut sich, Ihnen die neuen Jahresgaben von Sofia Duchovny, Gunter Reski und Raphaela Vogel vorzustellen. Mit dem Kauf einer Jahresgabe unterstuetzen Sie sowohl die Kuenstler*innen als auch die Arbeit der Halle fuer Kunst. * Noch erhaeltliche Jahresgaben: Vahram Aghasyan, Daphne Ahlers, Dave Allen, Thomas Baldischwyler, Will Benedict, Kamilla Bischof, Henning Bohl, Shannon Bool, Andrea Bowers, Wolfgang Breuer, Kaucyila Brooke, Marc Camille Chaimowicz, Jay Chung & Q Takeki Maeda, Simon Denny, Jeanne Faust, Isabelle Fein, Dani Gal, Birke Gorm, Graham Hudson, Oliver Husain, Tom Humphreys, DAS INSTITUT (Kerstin Braetsch und Adele Roeder), Nico Ihlein, Thomas Kapielski, Heiko Karn, Tobias Kaspar, Nina Koennemann, Skafte Kuhn, Veit Laurent Kurz, Hans-Christian Lotz, Lone Haugaard Madsen, Benoît Maire, Katrin Mayer, Birgit Megerle, Michaela Meise, Karolin Meunier, Anna Moeller, Pentti Monkkonen, Charlotte Moth, Falke Pisano, Puppies Puppies, Ulla Rossek, Eske Schlueters, Jochen Schmith, Anne Speier, Lucie Stahl, Megan Francis Sullivan, Mirjam Thomann, Sofie Thorsen, Philipp Timischl, TO SHOW IS TO PRESERVE, Simon Wachsmuth, Lily Wittenburg, Kathrin Wojtowicz, Phillip Zach und Alivia Zivich. Der Erwerb von Jahresgaben ist ausschließlich den Mitgliedern der Halle fuer Kunst vorbehalten. Informationen zur Mitgliedschaft sowie zu den noch erhaeltlichen Jahresgaben finden Sie auf unserer Homepage unter www.halle-fuer-kunst.de

artists & participants

Sofia Duchovny,  Gunter Reski,  Raphaela Vogel 
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posted 05. Jan 2021

JAHRESGABEN 2020

01. Dec 202031. Dec 2021
JAHRESGABEN 2020 Rosa Barba Heike-Karin Föll Simone Gilges Lisa Herfeldt Heinz Peter Knes Sarah Lüdemann (Beauham) Grażyna Roguski "Ein Jahr voller ungeahnter Herausforderungen neigt sich dem Ende entgegen und trotz allem freuen wir uns, Ihnen unsere Jahresgaben 2020 vorerst online vorzustellen. Ab sofort erhältlich sind Werke von jungen und etablierten Künstler*innen, mit denen wir dieses Jahr kollaboriert haben. Mit dem Kauf einer Edition unterstützen Sie aktiv die beitragenden Künstler*innen, sowie das Ausstellungsprogramm des Künstlerhaus Bremen. Weitere Informationen zu den einzelnen Jahresgaben 2020 sowie einen Überblick über alle noch erhältlichen Editionen des Künstlerhauses finden Sie auf unserer Website. Wir hoffen Ihnen Anfang 2021 neue und ältere Jahresgaben vor Ort präsentieren zu können."
Künstlerhaus Bremen

KÜNSTLERHAUS BREMEN | Am Deich 68/69
28199 Bremen

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posted 04. Jan 2021

Matthew Barney. Cosmic Hunt

12. Sep 202016. Jan 2021
venue: Sadie Coles **12.09.2020 - 16.01.2021** Matthew Barney. Cosmic Hunt Cosmic Hunt, an exhibition of new work by Matthew Barney, centres on a monumental sculpture in cast stainless steel of the same name, together with twenty drawings rendered in finely scribed detail. The sculpture and drawings find their origins in the artist’s acclaimed 2018 film Redoubt, in which ancient and modern myths of creation and retribution are transposed into the spectacular wilderness of the remote Sawtooth mountain region of Idaho. At the centre of the exhibition, the Cosmic Hunt sculpture embodies the morphed skeleton of a burned tree, taking the form of a telescope or mounted artillery, and rendered on a monumental scale in intricately articulated stainless steel. Elevated on a bipod, its central ‘barrel’ resembles an amalgam of fractured bark, machined metal and scaly sheathing. At its pinnacle lies an eviscerated wolf, rendered in crystalline detail from a scanned model of the wolf’s body, notably, Barney’s first directly figurative sculpture. The wolf alludes to the leitmotif of Redoubt: a wolf hunt that unfolds in six choreographed movements over the course of the film. The creature is slung like a trophy, its bristling fur seeming to merge with the complex topography of the sculpture, and pierced by spears terminating in tiny coronae. Caught between the status of a lanced corpse and a constellation, the animal is in the midst of catasterism – transformation into a celestial body. Barney’s sculpture dramatizes the central themes of Redoubt – the dual enmity and interdependence of men and animals, the collision of nature and technology, and the porous boundary between present-day reality and myth (the artist has spoken of the film’s depiction of the landscape as “grounded in the real.”) Poised on sleek tubular legs, the entire sculptural structure suggests a character in the throes of a metamorphosis – mechanical, animate, fossilised. The object appears to be turning inside-out, in an echo of Barney’s earlier sculpture Basin Creek Burn, 2018, where the core and exterior of a tree harvested from the Sawtooth Mountains were cast in one process, with the tree itself acting as a mold for the molten metal. Cosmic Hunt stands as a reference to the character of Diana in Redoubt (played by Anette Wachter), a modern-day sharpshooter who uses a rifle mounted on a bipod to track the wolf, framing the animal in her telescopic sights. In classical myth, the goddess Diana turned the hunter Actaeon into a stag after he caught sight of her bathing. In Redoubt, Diana the hunter is also the hunted – she and her attendants are pursued by the enigmatic character of the Engraver (Barney), who documents their pursuits in a series of engravings. The sculpture’s hybrid form – like the layered allusions of the film – reaches into numerous mythologies and realities, including the contradictions of modern America, where technological progress finds its antitype in the survivalist sects of the Idaho wilderness. The artist has stated: “the term redoubt resonates as a description of more abstract forms of isolation or withdrawal”; Barney became interested at an early stage of the project with the term’s association with the American Redoubt, an extremist movement calling for a return to the land and a separation from government. In a sequence of drawings in gouache and graphite (all 2020), Barney focuses on characters and settings from Redoubt, while invoking the film’s larger cosmological symbolism. The different hues of the paper – magenta, ochre, blue and orange (each matched in the drawings’ frames) – evoke the skies, forest fires and colour spectrums of the Idaho mountains. Diana with Quiver presents the character in the guise of a medieval knight whose chainmail transmutes into military camouflage. Avalanche Fence depicts the nets and buttresses of an avalanche barrier on a mountainside, the naturalistic rendering of the landscape intersected by a chevron of vivid magenta. The faint woodland scene in Blue Reticle is overlaid by two perpendicular axes that might equally be compass points or the sights of a hunter’s gun; while the wolf in Redshift appears to be trapped within, or impaled by, the lines of the constellation that it represents – a close counterpart to the animal at the axis of Barney’s new sculpture. Cosmic Hunt will continue until the 16 January 2021, and forms the most recent chapter extending from Matthew Barney’s significant Redoubt project, which was first presented at the Yale University Art Gallery, New Haven, in 2019 (accompanied by an extensive publication), and subsequently travelling to UCCA Center for Contemporary Art, Beijing in 2019 – marking the artist’s first solo exhibition in China. In 2021, Redoubt will be the subject of a solo exhibition at the Hayward Gallery, London. In Autumn 2020, Matthew Barney created the artist website Cosmic Hunt, an online capsule taking the form of an annotated map, with access to film clips, production photography and seven new drawings derived from the broader Redoubt mythosphere. The current exhibition includes the new drawings that formed the core of the online project. Access here. Matthew Barney (b. 1967) is one of America’s most significant contemporary artists. Over the past two decades he has evolved a practice that encompasses filmmaking, performance, drawing, painting, and sculpture. Redoubt was first presented at the Yale University Art Gallery, New Haven, in 2019 (accompanied by an extensive new publication), and subsequently travelled to UCCA Center for Contemporary Art, Beijing in 2019 – marking the artist’s first solo exhibition in China. In 2021, Redoubt will be the subject of a solo exhibition at the Hayward Gallery, London. Major presentations in recent years include River of Fundament, Haus der Kunst, Munich (2014), touring to the Museum of Old and New Art, Hobart, Tasmania (2014) and The Geffen Contemporary at MOCA Los Angeles (2015); Subliming Vessel: The Drawings of Matthew Barney, The Morgan Library & Museum, New York (2013), and the Bibliothèque nationale de France, Paris (2013-2014). In 2002, Barney’s acclaimed series The Cremaster Cycle (1994-2002), was presented as a solo exhibition organized by the Solomon R. Guggenheim Museum, New York: travelling to Museum Ludwig, Cologne (2002); Musée d’Art Moderne de la Ville de Paris (2002); and Solomon R. Guggenheim Museum, New York (2003). Over the course of his career he has received numerous awards, including the Aperto prize at the 1993 Venice Biennale and the 1996 Hugo Boss Award. The artist lives and works in New York.
Sadie Coles HQ, London

1 Davies Street
W1K 3DB London

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posted 03. Jan 2021

KONTINENT – Auf der Suche nach Europa

02. Oct 202010. Jan 2021
opening: 01. Oct 2020 07:00 pm
KONTINENT – Auf der Suche nach Europa Eine Ausstellung von OSTKREUZ – Agentur der Fotografen und der Akademie der Künste, Berlin 02.10.2020 – 10.01.2021 Akademie der Künste, Pariser Platz 4, 10117 Berlin Di – So 11 – 19 Uhr, Eintritt € 10/5 Ausstellungseröffnung am 1. Oktober 2020 zusammen mit den EMOP Opening Days, 19 Uhr „KONTINENT – Auf der Suche nach Europa“ ist die aktuelle thematisch angelegte Gemeinschaftsausstellung aller Mitglieder der OSTKREUZ – Agentur der Fotografen in Kooperation mit der Akademie der Künste. Sie eröffnet am 1. Oktober 2020 den diesjährigen EMOP Berlin - European Month of Photography und die EMOP Opening Days. Als künstlerisches und politisches Statement im Akademie-Gebäude am Pariser Platz rückt die Ausstellung die europäische Gegenwart in den Mittelpunkt und beleuchtet diese kritisch in 22 Positionen. In freien Projekten erforschen die OSTKREUZ-Fotograf*innen verschiedene Aspekte des Miteinanders in Europa und nehmen sowohl persönliche, gesellschaftliche und politische Phänomene als auch grundlegende Strukturen und historische Entwicklungen in den Blick. Den Zugang zu komplexen Inhalten finden sie dabei immer über Bilder vom Menschen und seiner Umgebung. Die Themen der Arbeiten erstrecken sich von Fragen nach Identität und Sicherheit, über Renationalisierung, Migration und Integration, bis hin zu einem grundsätzlichen Verständnis von Humanismus, Demokratie und Meinungsfreiheit. „KONTINENT“ möchte fruchtbare Impulse für die gegenwärtige Debatte über Europa bieten und fragt u. a.: Was verbindet uns? Wie leben wir zusammen? Wie wird sich unser Kontinent entwickeln, wie das Zusammenleben seiner Menschen? Und wer genau ist mit „Wir“ gemeint, wenn von einem „Wir“ in Europa die Rede ist? Dazu aus dem Statement der OSTKREUZ-Fotograf*innen zur Ausstellung: „So sehr wir auch manchmal zweifeln und verzweifeln an den Details dieser Lebensgemeinschaft: Unser Projekt ist nicht, war nie objektiv, es ist dem Humanismus gewidmet, der friedlichen Kooperation. Es ist eine Liebeserklärung an Europa.“ Beteiligte Künstler*innen: Jörg Brüggemann, Espen Eichhöfer, Sibylle Fendt, Johanna-Maria Fritz, Annette Hauschild, Harald Hauswald, Heinrich Holtgreve, Tobias Kruse, Ute Mahler, Werner Mahler, Dawin Meckel, Thomas Meyer, Frank Schinski, Jordis Antonia Schlösser, Ina Schoenenburg, Anne Schönharting, Linn Schröder, Stephanie Steinkopf, Mila Teshaieva, Heinrich Völkel, Maurice Weiss, Sebastian Wells und Sibylle Bergemann (1941–2010) Kurator: Ingo Taubhorn Die Ausstellung wird gefördert vom Europäischen Fonds für regionale Entwicklung (EFRE), der Senatsverwaltung für Kultur und Europa und der Gesellschaft der Freunde der Akademie der Künste.

curator

Ingo Taubhorn 
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posted 01. Jan 2021

Risquons-Tout

12. Sep 202010. Jan 2021
Risquons-Tout 12.09.2020 - 10.01.2021 Risquons-Tout is an ambitious, thematic group exhibition that explores the potential of transgression and unpredictability. It examines how art challenges the homogenisation of thought in the now infamous echo chambers of our overcrowded info-sphere. Risquons-Tout presents some of the most innovative and influential artists and authors from the Eurocore region, which extends between Amsterdam, Paris, Cologne, Düsseldorf and London, with Brussels at its centre. The title is borrowed from a place located on the Belgian-French border, a real yet liminal space of transition, passage and informal exchanges, notably smuggling. The invited artists negotiate different dynamics of bridging, passing, translating and transgressing. In doing so they burst the safe bubbles generated by prediction algorithms, designed to avoid any risk, whether intellectual, financial, emotional or physical. The exhibition’s geographic and political scope addresses today’s global connectivity, trans-national circulation and diasporic movements. Risquons-Tout will occupy the entire WIELS building and range out into neighbouring exhibition and performance spaces. It will present the works of 38 internationally recognised or emerging artists. The exhibition proposes a rich array of practices that defy easy categorisation. Risquons-Tout will also include a performative section and an Open School that will serve as a laboratory for artists and scholars to draw upon questions of risk, unpredictability and borders through a range of alternative methods for the transmission of knowledge. It is precisely the Internet that increasingly ties its users together into a single information-processing system that functions as a global “nervous system” Srecko Horvat and Alphie Brown, Advancing Conversations: Srecko Horvat – Subversion! (Alresford: Zero Books, 2017), pp. 57-63. Artists Ed Atkins, Neïl Beloufa, Manon de Boer & Latifa Laâbissi, Peter Buggenhout, CATPC / Irene Kanga, Julien Creuzet, Shezad Dawood, Jean D.L., Lise Duclaux, Esther Ferrer, Jef Geys, Manuel Graf, Kati Heck, Lubaina Himid & Magda Stawarska-Beavan, Heide Hinrichs, Isaac Julien, Melike Kara, Anne-Mie Van Kerckhoven, Suchan Kinoshita, Tarek Lakhrissi, Ghislaine Leung, Bernd Lohaus, Christian Nyampeta, Sophie Nys, Lydia Ourahmane & Alex Ayed, Panamarenko, Laure Prouvost, Sina Seifee, Philippe Van Snick, Mounira Al Solh, Monika Stricker, Sturtevant, Joëlle Tuerlinckx, Nora Turato, Evelyn Taocheng Wang. With interventions and performances by Ed Atkins (UK), Manon De Boer (IN/NL/BE) & Latifa Laâbissi (FR), Jean De Lacoste (BE), Cherish Menzo (NL), Christian Nyampeta (UK/RW/NL), Laure Prouvost (FR/BE), Mounira Al Solh (LB/NL), Nora Turato (HR/NL) and Tarek Lakhrissi (FR). The Open School section is composed of the projects Intersections of Care by Loraine Furter and Florence Cheval, with Sofia Caesar, Laurie Charles, Clémentine Coupau, Julianae (Juliana Vargas Zapata and Juliane Schmitt), Josèfa Ntjam and Golnesa Rezanezhad. ; Eden Studies by Astrocyte Studio with Cédric Noël, Mira Sanders, Joachim Olender, Laure Cottin Stefanelli, Anaïs Chabeur, Pauline Hatzigeorgiou and FieldStation Studio.; and CLEA Open School by Centre Leo Apostel, VUB. The exhibition is accompanied by a catalogue published by Fonds Mercator/Mercatorfonds and designed by Harrison. The book features essays and interviews by Dirk Snauwaert, Emanuele Coccia, Marina Vischmidt and Vivian Ziherl, as well as a wide range of reproductions of works. Curators: Dirk Snauwaert in collaboration with co-curators Zoë Gray and Devrim Bayar, associate curator Helena Kritis for the performative section, and Sofia Dati as curatorial assistant.
WIELS Contemporary Art Centre, Brussels

WIELS | Avenue Van volxem, 354 / Forest
B-1190 Brussels

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posted 31. Dec 2020

ANIMALS IN ART

26. May 202010. Jan 2021
ANIMALS IN ART ARKEN is swarming with fur and paws. Join us in an animal kingdom of art full of beautiful, strange and incredible creatures. 26 May 2020 to 10 January 2021 Have you ever seen a full-grown elephant float? Artist Daniel Firman lets us experience precisely such a spectacular dream vision at ARKEN’s major exhibition Animals in Art. The exhibition explores and unpacks the intense preoccupation of animals seen in contemporary art these years. Thirty-four international artists, including three artist duos, offer their takes on our relationship with the other species with which we share the globe. The works explore various connections between humans and animals as played out in the Western world’s consumption patterns, storytelling and outlooks on nature views. At the same time, the works are a tribute to the amazing animals – and a cry of concern urging us to consider their future under human domination. Loving and cruel Several of the artists featured in the exhibition investigate our close relationship with pets and what happens when we are seduced by cuteness. From Martin Eder’s giant paintings of adorable internet kittens to Annika Eriksson’s nostalgic album filled with pictures of animals that someone once loved dearly. Close and familial ties to animals give rise to love, joy and comfort, but can also be cause of worry – and of sorrow when the animals die. David Shrigley’s stuffed cat, holding up a sign with the words ‘I am dead’, offers us a morbid and humorous confrontation with death while also highlighting the surreal absurdity of stuffing animals to make them seem alive. The exhibition also gives visitors the opportunity to listen to Sophie Calle’s triple album Souris Calle (2018), which contains a wealth of music from famous musicians such as Bono, Pharrell Williams and Jean-Michel Jarre, all written as a tribute to her late cat Souris. Close and familial ties to animals give rise to love, joy and comfort, but can also be cause of worry – and of sorrow when the animals die. See yourself through the animals Animals are everywhere in myths, fables and fairy tales, in religious writings and in cartoons. In our narratives, we imbue animals with human traits and speech, making them metaphors for strength and wisdom, sexuality and death, or beauty and fragility. The artists featured in the exhibition have keen eyes for the meaning and significance of animals in our quest for insight into life. They show us how to tell stories of our own lives through animals – such as when John Baldessari uses a large, white camel to interpret the Biblical story of the rich man who has less chance of getting into Heaven than a camel has of passing through the eye of a needle. Wild animals The dream of authentic encounters and communion with wild animals and unspoilt nature lives in most people. Yet it is mostly an impossible dream because man brings civilisation and culture with him as he goes. At the exhibition, Mark Dion’s stuffed wolf stands proudly with its paws planted in the soil of the wilderness, far removed from the safe and domesticised territory of a dog basket. However, the wolf stands, wilderness and all, in a trailer that can be hooked behind a car, allowing nature to easily and conveniently be moved around as needed. We mostly meet wild animals in zoos and circuses, where their natural surroundings and behaviours are adapted to human needs for entertainment and knowledge. In Douglas Gordon’s monumental video installation Play Dead (2003) we come face to face with a circus elephant performing various tricks in an art gallery, including playing dead. We sense the vulnerable situation in which the animal finds itself, and at the same time we are fascinated by its simultaneously graceful and clumsy beauty. Us and the other species In museums of natural history, the grand narrative underpinning everything is often the history of evolution and of humanity’s understanding of its own place within it. In the hands of artists, it is revealed as the narrative of how mankind, an animal species, has distanced itself from nature and the other species on Earth. Among cute animals, wild animals and human animals, countless beautiful and conflict-filled relationships unfold. Find your favourite animal and gain new perspectives on humanity’s loving and cruel coexistence with the other living beings on this planet. Among cute animals, wild animals and human animals, countless beautiful and conflict-filled relationships unfold. Artists in the show The exhibition includes artworks by Cory Arcangel, John Baldessari, Richard Barnes, Pascal Bernier, Sophie Calle, Mircea Cantor, Maurizio Cattelan, Mark Dion, Nathalie Djurberg & Hans Berg, Martin Eder, Michael Elmgreen & Ingar Dragset, Annika Eriksson, Daniel Firman, Laura Ford, Douglas Gordon, Damien Hirst, Peter Holst Henckel, Camille Henrot, Candida Höfer, Carsten Höller, Bharti Kher, Paul McCarthy, Kohei Nawa, Rivane Neuenschwander & Sérgio Neuenschwander, Tim Noble & Sue Webster, Patricia Piccinini, Paola Pivi, David Shrigley, Lisa Strömbeck and William Wegman. None of the taxidermied animals in the exhibition have been put down to be part of the artworks.
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