daily recommended exhibitions

posted 27. Aug 2022

Thomas Demand: The Stutter of History

08. Jul 202204. Sep 2022July 8–September 4, 2022**Thomas Demand: The Stutter of History**From July 8 to September 4, 2022, UCCA Edge presents The Stutter of History, the first comprehensive survey of work by Thomas Demand (b. 1964, Munich, lives and works in Berlin and Los Angeles) in China. Capturing the uncanny intersections of history, images, and archtectonic forms, the exhibition features over 70 photographs, films, and wallpapers that span the arc of the artist’s career, and focuses on four important areas of his work: large-scale photographs depicting seemingly banal yet historically significant scenarios reconstructed from news images or other sources; “Dailies” based on images taken on his phone; photographic studies of paper models from other creative disciplines in “Model Studies”; and his moving image work. The exhibition is curated by Douglas Fogle for the non-profit organization the Foundation for the Exhibition of Photography and is organized at UCCA Edge by Ara Qiu, Mason Zha, Zhang Yao, and Lin Luqi. UCCA Edge thanks audiences for their understanding regarding the impact of recent pandemic-related restrictions on the exhibition’s originally planned opening date and duration.For Demand, “The Stutter of History” lies in the gap between existing images that depict the world around us, the 1:1 paper models he meticulously builds to reconstruct these images, the photographs he takes of these models, the subsequent destruction of the models, and the para-photographic forms that then relaunch into the world. In the first section, Demand’s large-scale photographs depict scenarios from the margins of recent history, from the Gangway (2001) that Pope John Paul II descended on his visit to unified Berlin, to the polling centers for the contentious 2000 United States presidential election (Poll, 2001). A selection of works confront images associated with the Nazi regime and other traumas in German history, such as Room (1994), the site of a failed attempt to assassinate Hitler in 1944, and the ransacked Office (1995) of the Stasi. Closer to the present day, the “Refuge” series (2021) re-creates the bleak, generic Russian hotel room presumably occupied by American whistleblower Edward Snowden.As a counterpoint to the public and monumental, the “Dailies” series (2008–2020), shown on the third floor, consists of photographs of paper models Demand reconstructed based on images taken with his iPhone. They depict the ordinary, sometimes humorous, and often overlooked moments that populate everyday life—a pile of unopened mail, a poster on a telephone pole, plastic cups stuck in a fence.In his “Model Studies,” Demand enters into dialogue with models from other creative professions. The photographs on display here make fragmented and abstract studies of well-worn paper models from the architecture studio SANAA and the radical paper dress patterns of fashion designer Azzedine Alaïa, offering an alternative dimension to the use and haptic materiality of models.Finally, the exhibition investigates Demand’s commitment to the moving image in his explorations of stop-motion filmmaking, as demonstrated in the work Pacific Sun (2012). Housed in a specially built cinema-like intervention, Demand fastidiously reconstructed this epic, absurd stop-motion animation film from two minutes of security footage from the cruise ship Pacific Sun as it was hit by gigantic waves off the coast of New Zealand. Its frenzied moments of uncontrolled chaos culminate in climatic absurdity, a state that is central to the gulf between the disquieting, utopian potential of his paper models and the mass consumption of their photographic doppelgängers.Apart from individual artworks, exhibition design is an integral part of Demand’s conceptual approach to artistic production. With his architectural use of textiles, wallpapers, and temporary structures, Demand creates an immersive environment for the spectator, in which image and world collide.Accompanying the exhibition, the English-language catalogue The Stutter of History has been produced in collaboration between art director Naomi Mizusaki, the artist, and his longtime publisher MACK. The catalogue contains an introduction by Douglas Fogle, an essay by art historian Margaret Iversen, and an original prose fiction piece by author Ali Smith.About the ArtistThomas Demand (b. 1964, Munich, lives and works in Berlin) attended both the Academy of Fine Arts in Munich and the Düsseldorf Art Academy from 1987 to 1992 before receiving a master’s degree in fifine arts from Goldsmiths’ College in London in 1994. Demand has shown his work at major museums and galleries worldwide. His solo projects include exhibitions at Centro Botin, Santander (2021); Garage, Moscow (2021); M Museum, Leuven (2020); Modern Art Museum of Fort Worth, Fort Worth (2016); Los Angeles County Museum of Art, Los Angeles (2014, 2015); DHC Art Center, Montréal (2013); National Gallery of Victoria, Melbourne (2012); the Museum of Modern Art, Tokyo (2012); Kaldor Public Arts Project #25, Sydney (2012); Boijmans van Beuningen, Rotterdam (2010); Neue Nationalgalerie, Berlin (2009); Museum Moderner Kunst Stiftung Ludwig Wien, Vienna (2009); Fondazione Prada, Venice (2007); the Serpentine Gallery, London (2006); the Museum of Modern Art, New York (2005); the Kunsthaus Bregenz, Bregenz (2004); and a survey at Fondation Cartier, Paris (2001). He also represented Germany at the 26th Sao Paulo Biennale (2004). His widely acclaimed exhibition “The Boat is Leaking. The Captain Lied.,” a collaboration with the fifilmmaker Alexander Kluge and the stage and costume designer Anna Viebrock, was on view at Fondazione Prada in Venice in 2017. His work has been included in four iterations of the Venice Architecture Biennale and was recently featured at the 2nd Chicago Architecture Biennale. Demand has curated several shows, including “L’Image Volée” at Fondazione Prada (Milan, 2016); “Model Studies” (Graham Foundation, Chicago, 2013); “La carte d’après nature” (Nouveau Musée National de Monaco, Monaco, 2010); and a contribution to the 13th Venice Architecture Biennale, “Common Ground” (2012). His work is represented in numerous museum collections including the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Los Angeles County Museum of Art, Los Angeles; Centre Pompidou, Paris; and Tate Modern, London.

artist

Thomas Demand

curators

Douglas Fogle, Lin Luqi, Ara Qiu, Zhang Yao, Mason Zha UCCA Edge, Shanghai

2F, No.88 Xizang Bei Lu, Jing'an District
Shanghai

Chinahttps://ucca.org.cn/en+86 21 6628 6861show mapshow moreposted 26. Aug 2022

FORENSIC ARCHITECTURE - WITNESSES

20. May 202223. Oct 2022FORENSIC ARCHITECTURE - WITNESSES 20 May – 23 October 2022 In the fifth exhibition in The Architect’s Studio series, Louisiana Museum of Modern Art presents the multidisciplinary research agency Forensic Architecture. Operating at the intersection of architecture, art, journalism, law and activism, Forensic Architecture investigates, maps and documents human rights violations in the context of a wide range of global conflicts.Over the last six years, Louisiana’s The Architect’s Studio series has opened a window on architects and studios that aspire to more than well-designed architecture. In Forensic Architecture - Witnesses, Louisiana presents a research group, led by architect Eyal Weizman, that includes not only architects but also artists, software developers, journalists, lawyers and animators.Conducting forensic investigations, the studio can best be described as the fusion of an architecture studio and an investigative journalism unit. Operating out of Goldsmiths, University of London, Forensic Architecture investigates human rights violations and crimes committed by states, police forces, militaries and corporations. Working with grassroots activists, international NGOs and media organizations, the team carries out investigations on behalf of people affected by political conflict, police brutality, border regimes and environmental violence. In the broadest possible sense, Forensic Architecture uses architectural tools and methods to conduct spatial and architectural analysis of particular incidents. Visualizing and rendering in 3D, they not only reconstruct a space but also document what happened in it. Forensic Architecture’s work is a far cry from the usual practice of architecture. Forensic Architecture gives a voice to materials, structures and people by translating and disseminating the evidence of the crimes committed against them, telling their stories in images and sound. When an incident of violence and its witnessing are spatially analysed, they acquire visual form. Accordingly, Forensic Architecture is also an aesthetic practice studying how space is sensitised to the events that take place within it. The investigation and representation of testimony depends on how an event is perceived, documented and presented. WitnessesUnlike established forms of crime and conflict investigation, Forensic Architecture employs a number of unconventional and unique methods to shed light on events, based on the spaces where they took place. This retrospective exhibition focuses on the act of witnessing as a spatial practice. Witness testimony, which sits at the centre of human rights discourse, can be more than viva voce, oral testimony in a court. Any material, like leaves, dust and bricks, can bear witness. Forensic Architecture investigates and gives a voice to material evidence by using open source data analysed using cutting-edge methods partly of their own design. Using 3D models, they facilitate memory recollection from witnesses who have experienced traumatic events. The objective is to reconstruct the ‘space’ in which the incident in question took place and then re-enact the relevant events within this constructed model. The most important sources tend to be public: social media, blogs, government websites, satellite data sources, news sites and so on. Working with images, data, and testimony and making their results available online while exhibiting select cases in galleries and museums, Forensic Architecture brings its investigations into a new kind of courtroom. Louisiana’s architectural exhibitions are supported by Realdania – a philanthropic association. The exhibition THE ARCHITECT’S STUDIO: FORENSIC ARCHITECTURE - WITNESSES is curated by curator Kjeld Kjeldsen and curator Mette Marie Kallehauge. The exhibition designer is Luise Hooge Lorenc.

artists & participants

Forensic Architecture, Eyal Weizman

curators

Kjeld Kjeldsen, Mette Marie Kallehauge Louisiana Museum of Modern Art, Humlebæk

Strandvej 13
DK-3050 Humlebæk

Denmarkhttp://www.louisiana.dkshow mapshow moreposted 25. Aug 2022

Helen Mirra - du vent au vent

25. Feb 202218. Sep 2022Helen Mirra du vent au vent February 25–September 18, 2022 Rochechouart Museum is delighted to host the first major solo exhibition in France of works by the American artist Helen Mirra.Since the mid-1990s, Helen Mirra has built up a body of poetic works that combine elements related to landscape, mathematics and language. Running through them is a strong vein of oriental philosophy as well as the influence of writers, particularly Americans such as Henry David Thoreau or the philosopher John Dewey best known for advocating experience-led education.Helen Mirra has selected 30 works for her exhibition in Rochechouart, spanning a period from beginnings in the mid-1980s to the present day. They are specifically displayed in non-chronological order, emphasising especially her walks which she defines as an activity that is both humble and free.The exhibition title du vent au vent (from wind to wind) conveys poetic notions of impermanence and fleeting time. It also refers to the importance Helen Mirra attributes to her creative process of incorporation. She states that it is not about just “being in the wind but also about being the wind.” The word “vent” (wind) in the exhibition’s title evokes वात “Vāṭa” in Sanskrit, which means the airy life force or wind “that makes things move.”Helen Mirra records landscape with a certain aesthetic preference for fragments but her intention is not to map out reality. The works invite reflection on the actions we carry out everyday, on the meanings of our acts and on their consequences for ourselves and our environment.Du vent au vent marks a return to subjects approached in some of the museum’s founding exhibitions which proposed a poetic and radical vision of landscape. These include exhibitions at Rochechouart by Wolfgang Laib in 1989, Richard Long in 1990 and Michelangelo Pistoletto in 1993.Helen Mirra was born in Rochester (New York) in 1970 and lives and works at Muir Beach in California. Her work has been shown in many exhibitions around the world, for example at the Chicago Renaissance Society (2001), New York’s Whitney Museum (2002), KW Institute for Contemporary Art in Berlin - Bonner Kunstverein - Museum Haus Konstruktiv in Zurich (2011), Culturgest in Lisbonne (2014) and recently at the Museo de Arte Zapopan in Mexico (2020). Her work was also exhibited at the 50th Venice Biennale (2003), 30th São Paulo Biennale (2012) and 12th Havanna Biennale (2015). In 2020 Helen Mirra was the recipient of the prestigious Guggenheim fellowship.This exhibition was made possible through generous contributions from FRAC (Ile de France), Meyer Riegger Gallery (Karlsruhe / Berlin), Nordenhake Gallery (Stockholm), Peter Freeman, Inc Galleries (Paris / New York) and Galleria Raffaella Cortese (Milan).

artist

Helen Mirra Château de Rochechouart

Musée d'art contemporain de la Haute-Vienne - Château de Rochechouart
87600 Rochechouart

Francehttp://www.musee-rochechouart.com/show mapshow more
posted 24. Aug 2022

DIEGO RIVERA’S AMERICA

16. Jul 202202. Jan 2023DIEGO RIVERA’S AMERICAJuly 16, 2022–January 2, 2023 The San Francisco Museum of Modern Art (SFMOMA) announces Diego Rivera’s America, the most in-depth examination of the artist’s work in over two decades. Diego Rivera’s America brings together more than 150 of Rivera’s paintings, frescos and drawings—as well as three galleries devoted to large-scale film projections of highly influential murals he created in Mexico and the U.S. On view from July 16, 2022–January 2, 2023, the exhibition focuses on his work from the 1920s to the mid-1940s, the richest years of Rivera’s prolific career. During these two key decades, Rivera created a new vision for North America, informed by his travels in Mexico and the United States. “Rivera was one of the most aesthetically, socially and politically ambitious artists of the 20th century,” notes guest curator James Oles. “He was deeply concerned with transforming society and shaping identity—Mexican identity, of course, but also American identity, in the broadest sense of the term. Because of his utopian belief in the power of art to change the world, Rivera is an essential artist to explore anew today, from a contemporary perspective.” EXHIBITION SCOPE Diego Rivera’s America builds on SFMOMA’s collection of over 70 works by Rivera, one of the largest in the world. It also features paintings, drawings and frescos borrowed from public and private collections in Mexico, the U.S. and the U.K., reuniting many for the first time since the artist’s death. Iconic and much-loved works, such as The Corn Grinder (1926), Dance in Tehuantepec (1928), Flower Carrier (1935) and Portrait of Lupe Marin (1938), will be shown alongside paintings that have not been seen publicly since leaving the artist’s studio. The exhibition is the first to examine Rivera’s work thematically, with galleries dedicated to places like Tehuantepec and Manhattan that captured his imagination, and to his favorite subjects, such as street markets, popular celebrations and images of industry. It begins with Rivera’s first mural commission, Creation (1922–23), a project that—like much of his work—looks to past artistic traditions while also embracing avant-garde strategies. In the 1920s, working mainly in Mexico, Rivera established his mature style, distinguished by rounded forms, intense colors, and increasingly dense compositions. He cemented an interest in allegory, popular culture, family, labor, and the proletarian revolution, themes that would be central to his famous murals in San Francisco, Detroit and New York of the early 1930s, and that would resonate in his paintings and drawings through the 1940s. The culmination of the exhibition is Rivera’s last U.S. mural, a colossal work measuring 22 feet high by 74 feet wide, painted for the Golden Gate International Exposition in San Francisco in 1940. The Marriage of the Artistic Expression of the North and of the South on the Continent—commonly known as Pan American Unity—is free to all visitors to view in SFMOMA’s Roberts Family Gallery. This 10-panel portable fresco, on loan from City College of San Francisco until 2024, explores his vision of a shared history and future for Mexico and the U.S. EXHIBITION HIGHLIGHTS AND THEMES Diego Rivera (Mexican, 1886–1957) believed in the power of art to educate, inspire action and transform society. He considered art an essential weapon in the utopian struggle for greater social equality and justice. Paintings such as The Tortilla Maker (1926) and Weaving (1936) illuminate Rivera’s desire to focus on everyday people as the protagonists of national narratives. From the early 1920s to the mid-1940s, he reimagined Mexican national identity on a vast scale, embraced the industrial age in the U.S. and conceived of a greater America in which unity, rather than division, was paramount. Rivera’s idea of “America” was hemispheric and transnational, and did not refer only to the United States, as he stated in 1931: “I mean by America, the territory included between the two ice barriers of the two poles. A fig for your barriers of wire and frontier guards.” Above all he believed that the U.S. and Mexico shared a similar historical foundation in which a rich Indigenous past had been suppressed by colonial violence. He also believed the countries shared a creative force and revolutionary impulse that distinguished them from Europe. Diego Rivera’s America invites audiences to reflect on the shared histories and challenges that connect us across political borders. The exhibition proposes new interpretations of some of Rivera’s most famous paintings, including Flower Seller (1926), on loan from the Honolulu Museum of Art, and a 1938 surrealist landscape from the collection of the Brooklyn Museum of Art. A suite of his humorous designs for the modernist ballet H.P. (Horsepower), on loan from The Museum of Modern Art, New York, will be presented together along with the first recreations of Rivera’s costumes since 1932. The presentation also unveils paintings lost to scholars or never exhibited before, among them a stunning double portrait commissioned by the mother of Jane and Peter Fonda in 1941. The galleries devoted to Rivera’s U.S. murals feature large-scale preliminary sketches and cartoons for works such as his censored Rockefeller Center project of 1933, as well as two fresco panels painted in New York. His timely invitation to return to San Francisco in 1940 to paint a large mural in front of a live audience at the worlds’ fair held on Treasure Island allowed him the ideal opportunity to envision a collective American response to a world collapsing again into war. DIEGO RIVERA IN SAN FRANCISCO San Francisco was particularly important to Rivera; it was the first place he painted murals in the U.S. Likewise, his work was deeply influential to artists and muralists across the Bay Area. Through their work, Rivera and his wife Frida Kahlo became deeply connected to local cultural figures. San Francisco was also where Rivera and Kahlo remarried in 1940, after their brief divorce. The exhibition will present portraits of their wide circle of friends in San Francisco, including three important paintings by Frida Kahlo. Diego Rivera’s America features two galleries dedicated to Rivera’s San Francisco projects, with preparatory drawings for two murals from 1930–31: Allegory of California and The Making of a Fresco Showing the Building of a City. The exhibition will also incorporate Rivera’s portable fresco Still Life and Blossoming Almond Trees (1931), originally painted for a private home and now in the collection of the University of California, Berkeley. Brought together for the first time, these works provide unparalleled insight into Rivera’s time in San Francisco and highlight the artist’s role in helping to establish a legacy of politically engaged muralism that remains an indelible part of the city’s identity and built environment. Diego Rivera’s America spotlights paintings that depict life in Mexico and in the U.S. and concludes with a vast fresco that unites both countries. Rivera’s work invites us to consider the past while also asserting the power of art to envision solutions to cultural, economic and political challenges and shape the present. CATALOGUE Diego Rivera’s America is accompanied by a richly illustrated catalogue that serves as a guide to two crucial decades when Rivera was at the peak of his international fame. Essays by leading experts on Rivera and modern Mexican art devote attention to iconic paintings as well as works that will be new even to scholars—revealing fresh insights into his artistic process. The book features more than 300 illustrations, with essays by James Oles, Maria Castro, Claire F. Fox, John Lear and Sandra Zetina, and contributions by Michelle Barger and Kiernan Graves, Dafne Cruz Porchini, Jennifer A. González, Rachel Kaplan and Adriana Zavala. The catalogue is edited by James Oles and published by the San Francisco Museum of Modern Art in association with University of California Press. MISSION MURALS AUDIO ZINE In tandem with Diego Rivera’s America, SFMOMA has produced The Mission Muralismo Audio Zine Vol.I, for listeners to take audio stroll through San Francisco’s Mission District, learning about the murals seen throughout the neighborhood and the artists who collaborated to create them. In this 48-minute audio story narrated by Camilo Garzón, local writers Olivia Peña and Josiah Luis Alderete interweave their perspectives on the history of the Mission Muralismo movement with stories from the muralists themselves. VENUES AND DATES San Francisco Museum of Modern Art (SFMOMA): July 16, 2022 – January 2, 2023 Crystal Bridges Museum of American Art: March 11 – September 30, 2023 ORGANIZATION Diego Rivera’s America is curated by James Oles, Guest Curator, with Maria Castro, Assistant Curator, SFMOMA. The exhibition is co-organized by the San Francisco Museum of Modern Art and Crystal Bridges Museum of American Art.

artist

Diego Rivera

curators

Maria Castro, James Oles SFMOMA San Francisco Museum of Modern Art

SFMOMA | 151 Third Street
CA-94103-3159 San Francisco

United States of Americahttp://www.sfmoma.orgshow mapshow more
posted 23. Aug 2022

Cornelia Parker

18. May 202216. Oct 2022Tate Britain Millbank London SW1P 4RG18 May – 16 October 2022**Cornelia Parker**Experience Cornelia Parker’s mesmerising large-scale installationsCornelia Parker is one of Britain's best loved and most acclaimed contemporary artists. Always driven by curiosity, she reconfigures domestic objects to question our relationship with the world. Using transformation, playfulness and storytelling, she engages with important issues of our time, be it violence, ecology or human rights.The exhibition will bring together such iconic suspended works as Thirty Pieces of Silver 1988–9 and Cold Dark Matter: An Exploded View 1991; the immersive War Room 2015 and Magna Carta 2015, her monumental collective embroidery, as well as her films and a wealth of her innovative drawings, prints and photographs. Some works will spill out beyond the confines of the exhibition and infiltrate the permanent collection, in dialogue with the historical works they reference.

artist

Cornelia Parker Tate Britain, London

TATE BRITAIN | Millbank
SW1P 4RG London

United Kingdom of Great Britain and Northern Irelandhttp://www.tate.org.uk/show mapshow moreposted 22. Aug 2022

AKRAM ZAATARI - three snapshots and a long exposure

27. Apr 202227. Aug 2022April 27 – August 27, 2022**AKRAM ZAATARI three snapshots and a long exposure**Galerie Sfeir-Semler freut sich, die Einweihung ihrer neuen Räumlichkeiten im Erdgeschoss mit einer Einzelausstellung des libanesischen Künstlers Akram Zaatari zu begehen.Zaataris künstlerisches Werk bedient sich individueller und kollektiver Erinnerungen als wichtigste Quelle für Erforschung und Niederschrift der Geschichte. Dokumentiert in Tagebüchern und allen voran in Fotografien, hinterfragen die jüngsten Arbeiten des Künstlers das Medium und seine Funktion beim Erschaffen anderer künstlerischer Gegenstände. Migration einzelner fotografischer Elemente, ihr gelegentliches Zurückziehen und Wiederauftauchen, ihre gegenseitige Beeinflussung und Rekonstruktion sind die Prozesse, aus denen er Werke entstehen lässt.Die im ersten Stock der Galerie ausgestellte, titelgebende Serie three snapshots and a long exposure, 2022, konzentriert sich auf die Ikonographie der Stadt Beirut nach dem Bürgerkrieg. Angestoßen durch den Auftrag eines Buchprojekts von seinem damaligen Professor für Stadtplanung und Design der American University of Beirut, Robert Saliba, die Mitte der 1990er Jahre ausgelöste Debatte um den Wiederaufbau des Stadtzentrums festzuhalten, begann Zaatari das Zentrum selbst zu dokumentieren. Die mit einer 4x5-Fachkamera aufgenommenen Bilder wurden nie benutzt, bis Zaatari sie fast fünfundzwanzig Jahre später wieder aufgreift. Die großformatigen Aufnahmen, die keinen inhaltlichen Fokus aufweisen, könnten eine Atmosphäre der Spekulation, der beginnenden Gentrifizierung und des urbanen Wandels eingefangen haben, die damals noch in den Vierteln beidseitig der grünen Linie vorhanden war.Dieselben Motive tauchen erneut in viel kleinerem Format in Beirut Darkroom Logbook, 2022, auf, einer Serie von Abzügen, welche die Seiten eines Notizbuchs wiedergeben. Mit Anmerkungen zu den Prozessen in der Dunkelkammer, wie Belichtungszeiten und Entwicklung, aber auch Namen von Orten, Ausrichtungen, Immobilienwerten, Farben und Auflösung, versucht der Künstler die Methodik seiner Vorgehensweise anzudeuten. Dabei rückt die Abwesenheit der Menschen auf den abgebildeten Fotografien in Vordergrund, ein Thema, welches der Künstler in den ausgestellten Büchern und darüber hinaus in der Fotografie von Cinema-Rivoli in Beirut weiter erforscht. Es stellt sich die Frage nach der historischen Bedeutung der Aufnahmen ohne ihre aktiven Akteure.Während die neuen Arbeiten in der Ausstellung die formalen Charakteristika der Fotografie als Ausgangspunkt nehmen, veranschaulichen die Arbeiten aus der Serie The Fold, 2018, die von dem Künstler etablierte Methode zur Interpretation fotografischer Werke. Jede Arbeit scheint für ein Phänomen zu stehen, welches die Deutung des Bildes unterstützt. Allein die an die Wand projizierte Abbildung einer nackten Frau unterbricht das Narrativ. Anscheinend in den 1930er Jahren in Beirut von Kamal Haddad aufgenommen, sollte dieses Foto dem Künstler als Vorlage für ein Gemälde dienen. Angesichts der sozialen Zwänge im Libanon zu jener Zeit war es wahrscheinlich nie als Fotografie gedacht. Auf transparentem Papier gedruckt, scheint sie ein Zwischenschritt im künstlerischen Prozess zu sein, und kein eigenständiges Werk.Der Rundgang im ersten Stock endet mit der Arbeit Un-dividing History, 2017, welche die Fotografien von Khalil Raad und Yaakov Ben Dov zu einem einzigen Objekt verschmelzen lässt: Fotos, von zwei Fotografen die dieselbe Stadt, Jerusalem, teilten, sich aber in völlig unterschiedlichen Universen bewegten, dem arabischen und dem zionistischen.Im Erdgeschoß der Galerie versammelt die Ausstellung mehrere Arbeiten, die sich mit der archäologischen Geste des Ausgrabens auf der Suche nach Funden auseinandersetzen und der Aufregung, die mit ihrer ersten Betrachtung einhergeht. Archeology, 2017, besteht aus einer großen Glasplatte, welche die Replik einer kleinen fotografischen Glasplatte darstellen soll. Das Negativ, ursprünglich von Antranick Anouchian belichtet, zeigt einen nackt posierenden Athleten, dem jedoch wichtige Teile fehlen. Die Replik wurde weit über ihre ursprünglichen Maße hinaus vergrößert, um Zaataris Begeisterung bei der ersten Begegnung mit der Platte zu entsprechen.Der Tabnit-Monolith, 2022, der an einem mobilen Kran hängt, ist die Nachbildung eines riesigen monolithischen Felsblocks, der das Grab von König Tabnit fast 1900 Jahre lang versiegelte, bevor es bei seiner Ausgrabung 1887 vollständig zerstört wurde. König Tabnit war ein phönizischer König, der im 6. Jahrhundert v. Chr. in Saida regierte. Die Entdeckung seiner Mumie zusammen mit 19 Sarkophagen in der sogenannten Nekropole von Sidon war eine der frühesten Errungenschaften der osmanischen Archäologie unter der Leitung von Osman Hamdi Bey.An Extraordinary Event, 2018, beruhen auf Hamdi Beys Fotografien dieser Funde, die unmittelbar nach ihrer Ausgrabung im Zitronenhain gezeigt wurden, wobei Arbeiter und Ausgräber oft im Hintergrund standen. Zaatari löscht ihr zentrales Objekt aus, um den Ort und die Menschen hervorzuheben, die im Hintergrund erscheinen.An der gegenüberliegenden Wand sind kleine, mit Portraits versehenen Gipsobjekten komponiert. Unter dem Titel Footnotes to Hashem el Madani's Studio Practices, 2018 stellen sie Elemente einer ortsspezifischen Ausstellung dar und waren ursprünglich direkt an den Wänden im New Art Exchange, Nottingham, installiert. Hier ergänzen sie thematisch den Raum als freistehende archäologische Objekte.Photographic Currency, 2019, die im Fenster des neuen Erdgeschosses der Galerie zu sehen ist, basiert auf Bildern traditioneller Steppdecken aus Saida im Südlibanon, die Zaatari im Archiv des Fotografen Hashem el Madani entdeckte hat. Diese Fotos wurden in den 1950er Jahren aufgenommen und dienten den Deckenmacher*innen als loser Katalog, der es ihnen ermöglichte, Aufzeichnungen über Designs und Stichmuster zu führen, um sie potenziellen Kunden zu zeigen.Angrenzend werden mehr als 40 Arbeiten der Serie Against Photography, 2017 präsentiert, in welchen die fortschrittliche 3D-Aufnahmetechniken auf traditionelle Pressmethoden treffen. Während die neusten Technologien in der Lage sind die Reliefs alternder Negative nachzuzeichnen, wird die Oberfläche verfallener Negative, ohne die darauf befindlichen Bilder zu offenbaren, mit den althergebrachten Methoden sichtbar.Die Ausstellung three snapshots and a long exposure ist somit eine visuelle Darstellung Zaataris erweiterter Definition von Fotografie, ihrer Fluidität, der Verschmelzung von Medien und Formen, den Auslassungen und Kurzschlüssen, die beim Lesen widersprüchlicher und doch gemeinsamer Geschichten entscheidend bleiben.

artist

Akram Zaatari Sfeir-Semler, Hamburg

Admiralitätstraße 71
20459 Hamburg

Germanyhttp://www.sfeir-semler.com/040-37519940show mapshow more
posted 21. Aug 2022

MARY WEATHERFORD. The Flaying of Marsyas

20. Apr 202227. Nov 2022April 20 – November 27, 2022 Museo di Palazzo Grimani, Venice **MARY WEATHERFORD. The Flaying of Marsyas**Museo di Palazzo Grimani is pleased to present The Flaying of Marsyas, an exhibition of new paintings produced by Mary Weatherford between January and March 2021. The exhibition is designed in collaboration with architect and designer Kulapat Yantrasast and opens immediately prior to the commencement of the 59th Biennale di Venezia. The exhibition takes place on the museum’s second floor. The works in The Flaying of Marsyas are inspired by Titian’s late titular masterpiece of 1570–76 – in the collection of the Kroměříž Archdiocesan Museum, Czech Republic – and reflect Weatherford’s enduring fascination with the painting. Alluding to the Renaissance painter’s subdued palette, while paying tribute to the distinctive light of Venice, Weatherford uses Flashe paint and neon tubing to distill the older canvas’s affect. She responds to Titian’s composition by translating the violent character of its mythological theme into a form that, while more improvisational, also alludes to fate, hubris, and the relationship between the human and the divine.“In the summer of 2013, I encountered The Flaying of Marsyas in the last rooms of Antonio Paolucci’s extraordinary exhibition, “Tiziano”, at the Scuderie del Quirinale in Rome. I was alone, and the devastating moral weight of the painting hit me full force”, Mary Weatherford explains. “I instantly knew that one day I would make an entire exhibition based on that painting. Last January, I started. In each painting, like the Titian, nine figures are compressed into a scene that is violent, and oddly still.”Weatherford’s approach to painting is rooted in personal experience and evokes a variety of urban and rural environments through experimentation with light, color, texture, gesture, and the interaction between a painted surface and three-dimensional addenda. In her best-known works, grounds of Flashe vinyl emulsion are sponged onto heavy linen panels and surmounted by neon-filled glass tubes. Weatherford started using neon in 2012, inspired by old illuminated signs that still stood in Bakersfield, California, where she was then working as a visiting artist. Casting an intense light onto the paintings’ modulated fields of color, the tubes and their trailing power cords often read as hand-drawn lines.The Flaying of Marsyas is accompanied by a catalogue featuring an essay by noted Titian scholar Nathaniel Silver, William and Lia Poorvu Curator of the Collection and Division Head at the Isabella Stewart Gardner Museum in Boston, Massachusetts.Weatherford’s The Flaying of Marsyas completes the museum’s current exhibition program, which features both classical and contemporary art. Palazzo Grimani’s piano nobile is currently hosting the exhibitions Domus Grimani, which focuses on the return of the Grimani collection’s classical statues, and Archinto, an exhibition of new and recent paintings and sculptures by Georg Baselitz that includes twelve paintings made expressly for the Sala del Portego, on long-term loan to the museum from the artist. The Flaying of Marsyas and Archinto both present the work of contemporary artists who have been inspired by a building that represents the Renaissance in Venice in an unusual way, its style being Tuscan-Roman rather than Venetian. The myth of Marsyas is also depicted in the frescos enriching the ceiling of the Camerino di Apollo (Apollo’s Chamber) by Francesco Salviati, creating a further bond between the palace and the new paintings by Weatherford.The Flaying of Marsyas and Archinto are produced by Gagosian and organized in collaboration with the Veneto Regional Directorate for Museums and the Venetian Heritage Foundation.Mary Weatherford was born in 1963 in Ojai, California, and lives and works in Los Angeles. Collections include the Museum of Modern Art, New York; Brooklyn Museum, New York; National Museum of Women in the Arts, Washington, DC; Mead Art Museum, Amherst College, Massachusetts; Museum of Contemporary Art San Diego; Hammer Museum, Los Angeles; and Orange County Museum of Art, Newport Beach, California. Solo exhibitions include The Bakersfield Project, Todd Madigan Gallery, California State University, Bakersfield (2012); Bakersfield Paintings, LAXART, Los Angeles (2012); and Canyon—Daisy—Eden, Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York (2020, traveled to SITE Santa Fe, New Mexico, in 2021). Museo di Palazzo Grimani: Domus Grimani and ArchintoMuseo di Palazzo Grimani in Santa Maria Formosa is a Renaissance pearl that in the past was praised by travelers, tourists, and diplomats. Today, after several years of restoration, it is open to visitors in all of its beauty, richly decorated with stucco and frescoes by the hands of artists including Giovanni da Udine, Francesco Salviati, and Federico Zuccari. The palace served as a magnificent site for the scenographic arrangement of the family’s archaeological collection, which was later donated to the Serenissima. The piano nobile of the museum hosts the exhibitions Domus Grimani and Archinto.Domus Grimani celebrates the return of the collection of classical sculptures of patriarch Giovanni Grimani, which left the palace in 1594 after his death to be donated to the Republic of Venice. Developed in two chapters, the exhibition started in 2019 with the return of the statues in the Tribuna, Giovanni’s chamber of antiquities. In 2021 the second part of the exhibition, a rearrangement of the Room of the Doge, was completed. Domus Grimani is the result of a collaboration between the Veneto Regional Directorate for Museums and the Venetian Heritage Foundation. Archinto, curated by Mario Codognato and produced by Gagosian in collaboration with Venetian Heritage, is an exhibition of new and recent works by German artist Georg Baselitz, and also includes twelve paintings made expressly for the Sala del Portego, which hang in eighteenth-century stucco frames that, until the end of the nineteenth century, were occupied by portraits of members of the Grimani family. In a highly unusual commitment, these works will remain on long-term loan to the museum from the artist. The comprehensive artistic program of the Museo di Palazzo Grimani and its ability to attract important international partners testify to its importance within the cultural life of the city, while the dialogue between ancient and contemporary is, once again, a highlight of this unique place.

artist

Mary Weatherford Palazzo Grimani, Venice

Ramo Grimani, Castello 4858
30122 Venice

Italyshow mapshow moreposted 20. Aug 2022

Rein Jelle Terpstra: Robert F. Kennedy Funeral Train—The People’s View

11. Jun 202216. Oct 2022Rein Jelle Terpstra: Robert F. Kennedy Funeral Train—The People’s View June 11–October 16, 2022 On June 8, 1968, a year shaken by division and violence across the United States, the coffin of assassinated senator and presidential candidate Robert F. Kennedy (RFK) was carried on a funeral train from New York to Washington, D.C. Around one million people turned out to bid farewell to RFK in a spontaneous expression of grief. On board was photographer Paul Fusco, who took pictures of the bewildered mourners as they watched the train, which for the most part remained outside the camera’s lens, pass slowly by. Fascinated by what these people saw, between 2014 and 2017, Rein Jelle Terpstra (Leeuwarden, The Netherlands, 1960) carried out a thorough investigation in search of these people, gathering the photographs and home videos they took that day. RFK Funeral Train—The People’s View is based on a reversal of Fusco’s photographic perspective. Here, the mourners not only play a key role in the images taken by another person, Fusco, but become photographers and filmmakers themselves, recording and documenting this historic moment with their own cameras. This project is made up of recollections, memories, snapshots, home movies and sound, recorded by some of the many people who lined the train tracks that day, providing a meticulously elaborated vision of a parallel history, the one constructed by all sorts of people, in an alternative universe where the spectator is a witness of history from the other side.

artists & participants

Paul Fusco, Rein Jelle Terpstra Fabra i Coats: Contemporary Art Center of Barcelona

C/ Sant Adrià, 20
08030 Barcelona

Spainhttps://www.barcelona.cat/fabraicoats/centredart/enT +34 932 56 61 55show mapshow more
posted 19. Aug 2022

Jumana Manna

22. Sep 202217. Apr 2023September 22, 2022 – April 17, 2023 MoMA PS1**Jumana Manna**MoMA PS1 will present the first major museum exhibition of Jumana Manna (Palestinian, b. 1987) in the United States. On view from September 22, 2022 to April 17, 2023, the exhibition brings together nearly 20 works including two recent films, Wild Relatives (2018) and Foragers (2022), along with a series of new and existing sculptures, charting the artist’s multidisciplinary practice that explores the paradoxical effects of preservation practices in agriculture, science, and the law. Across the works in the exhibition, from sculptures to films, the land and its rhythms are explored as the basis for ways of life that have undergone duress while also resisting, evading, and transforming hegemonic power structures. Focusing on the land in the face of increasing forms of alienation from it, Manna’s films use a range of narrative methods to examine how land-based practices like farming and foraging are embroiled in and struggle against neoliberal and colonial policies and in turn, climate change. Drawing from specific examples, such as the first withdrawal from the Svalbard Global Seed Vault in 2015 in response to the Syrian war—the subject of her film Wild Relatives—Manna underscores the scientific limitations in recovering the loss of biological life, in all of its forms. Additionally, her work visualizes the slow violence of industrial agriculture while asking poignant questions about what kind of future is possible in a precarious present.Jumana Manna is organized by Ruba Katrib, MoMA PS1 Curator and Director of Curatorial Affairs.Significant support for Jumana Manna is provided by The International Council of The Museum of Modern Art.Generous support is provided by The Contemporary Arts Council of The Museum of Modern Art and Lise Stolt-Nielsen.

artist

Jumana Manna

curator

Ruba Katrib MoMA PS1, Long Island City

MoMA PS1 | 22-25 Jackson Ave. at 46 Ave., Queens
NY 11101 Long Island City

United States of Americahttp://momaps1.org(718) 784-2084show mapshow more
posted 18. Aug 2022

Léonard Pongo - Primordial Earth

02. Jul 202212. Nov 2022Léonard Pongo: Primordial Earth Enter #14July 2–November 12, 2022 Photos rarely do justice to the atmosphere of a landscape. A cropped surface cannot possibly match the mystical and unspoiled reality. Conscious of the limits of photography, Léonard Pongo seeks other ways of giving form to the superhuman force of the Earth. For him, letting go, getting lost and subordination are the only means of becoming part of the environment, and it is from this angle that he sets to work in the Congolese landscape. In Primordial Earth he lets nature speak, without trying to translate. From the traditions and cosmologies of the Kasai region, he introduces us to a world in which humankind is not the protagonist, but a character, secondary to plants and animals. With his atypical framing, Léonard Pongo shows no ambition to capture nature, but instead gives us the impression that we are standing in the middle of it and can only perceive a fragment of a larger whole. The layers and reflections that slowly slide over each other unfold into a lively and immeasurable likeness that is more of an impression than a reproduction. The materials chosen by the artist also emphasise the tactility of the earth and the rivers, sometimes robust and granular, sometimes liquid and shiny. Indeed, as a photographer, Léonard Pongo does not limit himself to the classic print on the wall, but experiments with texture, transparency and movement, hinting at an overwhelming and constantly changing nature. Biography Léonard Pongo is a photographer and visual artist. His long-term project The Uncanny has earned him several awards and worldwide recognition. Pongo’s work has been published internationally and featured in numerous exhibitions including the recent IncarNations at the Bozar Centre for Fine Arts curated by Kendell Geers & Sindika Dokolo and the 3rd Beijing Photo Biennial at CAFA Art Museum. He was selected as one of PDN’s 30 New and Emerging Photographers to Watch in 2016, is a recipient of the Visura Grant 2017, the Getty Reportage Grant 2018 and participated in the Joop Swart Masterclass 2018. Primordial Earth, his latest project, was shown at the Lubumbashi Biennale, the Rencontres de Bamako where it was awarded the Prix de l’OIF, and at the Bozar Centre for Fine Arts for his first institutional solo show in Belgium in 2021. His career is divided between his long term projects in Congo DR, teaching and assignment work. Pongo is also a member of The Photographic Collective‘s advisory board. His work is part of both institutional and private collections.

artist

Leonard Pongo Mu.ZEE Ostend

Romestraat 11
B-8400 Ostend

Belgiumhttp://www.muzee.be/enshow mapshow moreposted 17. Aug 2022

Monika Sosnowska - Fatigue

17. Jun 202230. Oct 2022 opening: 16. Jun 2022 19:00Monika Sosnowska „Fatigue“17. Juni – 30. Oktober 2022 EröffnungDonnerstag, 16. Juni 2022, 19 UhrMonika Sosnowskas raumgreifende skulpturale Arbeiten wirken in ihrer ästhetischen Eigenheit vertraut und doch fremd. Ein geknicktes T-Profil von 5 Metern Höhe lehnt gegen eine Wand des Kunstraum Dornbirn. Der Steg wölbt sich am Knick auf, das Profil trägt mit seinen 900 Kilogramm nichts mehr außer sich selbst. Ein Stahlrohr mit einem Durchmesser von 182 Zentimetern ist mittig durchgerissen, erinnernd an den Riss eines Papierblattes, und auf einer Länge von 10 Metern aufgerollt. Anfang und Ende des Rohrs sind kreisrund-intakt, liegend und stehend im Raum. Daneben hängt von der Decke ein 7,5 Meter hohes gefaltetes Stahlgerüst, das sich leichtfüßig mit einer Ecke am Boden abstützt. Ein Bündel Stahlstreben ragt direkt aus der hinteren rechten Wand der Ausstellungshalle. Wie von der Schwerkraft gebändigt erinnert es an eine Art überdimensionalen Pferdeschwanz. Monika Sosnowskas massive Arbeiten vermitteln eine irritierende Leichtigkeit, die in der schnellen, humorvollen Geste der Manipulation von industriell hergestellten Bauelementen nur kurz standhält. Den schwergewichtigen Skulpturen ist ihr Produktionsprozess spürbar eingeschrieben, die Leichtigkeit wird von der tonnenschweren Materialität konterkariert und aufgelöst. Der Titel der Arbeit „T“ (2017) orientiert sich am Ausgangsmaterial – nicht an der entstehenden L-Form –, nämlich einem tragenden Bauelement, welches statischen Ansprüchen Rechnung trägt und nach dem Bauprozess meist unsichtbar ist. So auch die Stahlstreben von „Rebar 16“ (2017), einem Bündel aus 16 Millimeter dicken Bewehrungsstäben, deren Oberfläche eine gute Haftung für den umgebenden Beton bietet, um Zug- und Druckkräften im Gebäudeverbund standzuhalten. Das weiße ehemalige Rohr ist mit „Pipe“ (2020) bezeichnet und die hängende Gitterstruktur nennt die Künstlerin „Facade“ (2013). Im letzten Fall lasten 1,3 Tonnen Materialschwere auf der singulären Aufhängung – und pointiert ironisch auf dem Berührungspunkt einer Ecke auf dem Boden. Sosnowska ahmt die Baumaterialien nicht im heute vielbeschworenen 3D-Drucker nach, sondern lässt sie industriell fertigen, sprich bautechnisch voll funktionsfähig ausbilden. Die Künstlerin eignet sich die Charakteristika der Materialien an, indem sie nach der Herstellung deren Funktion durch kraftvolle Manipulation wieder ad absurdum führt. Die fertigen Teile werden gebogen und verzogen, bis das Material ermüdet und der neuen Form nachgibt, die es dann unveränderbar annimmt und trägt. Dabei spielen Zufall und Schnelligkeit eine schwindend geringe Rolle. Vielmehr ist die inhärente Choreographie der Arbeiten in Modellen und Zeichnungen vorbestimmt, die Tragfähigkeit der Struktur durchdacht und die räumlich-suggestive Wirkung präzise gesetzt. Den Arbeiten ist eine dysfunktionale Referenz ihrer ursprünglichen Bestimmung inhärent, die eine besondere Ästhetik und Poetik zu erzeugen vermag. Was die Künstlerin uns bereitstellt, ist eine Kontextverschiebung par excellence. Sie changiert gekonnt zwischen kontextueller Offenlegung und sinnlichem Erleben. Die Schönheit von Sosnowskas Werken steht gleichbedeutend neben technischen, historischen und psychologischen Komponenten ihrer künstlerischen Aneignungsstrategie. Sie schließt uns kollektiv und individuell ein, thematisiert unsere gebaute Umwelt, unseren Lebensraum und das gesellschaftliche Zusammenleben durch den Gebrauch von Bauelementen, die in ihrer zeitlichen Beständigkeit und in ihren Modeerscheinungen in Widerstreit mit der jeweiligen Gegenwart treten oder diese tragen.Sosnowskas künstlerischer Blick auf die gebaute Umgebung ist eng verbunden mit den zeitgeschichtlichen Entwicklungen. In der Arbeit „Facade“ ist dies konzeptuell eindrücklich: Die Künstlerin lebt in der polnischen Hauptstadt Warschau, deren massive Zerstörung im Zweiten Weltkrieg eine architektonisch schwierige, diverse und von den jeweiligen Regimeinteressen oder heutzutage von Investorengeldern gesteuerte Anpassung des Stadtbildes zur Folge hat. Gesellschaftliche Prozesse drücken sich in Architektur aus. Ökonomische, soziale und kulturelle Parameter finden im gebauten Raum eine konkrete Verkörperung. So etwa in einem viergeschossigen Gebäude verkleidet mit Glas und Stahl, entstanden im Jahr 1963 in bewusster Abkehr vom sozialistischen Realismus der Stalin-Ära und im Kontrast zur neotraditionalistischen Bauweise der Nachbarhäuser in den 1940er und 1950er Jahren. 2011–2015 musste das Gebäude einerseits den gegenwärtigen Nutzungsansprüchen folgend umgestaltet werden, andererseits war die Stahl-Glas-Fassade in einem sehr schlechten und damit nicht mehr tragfähigen Zustand. Die Umgestaltung der Architekten Diener & Diener sorgte international für Diskussionen mit polarisierender Kritik und Lob in der Fachwelt. Diese Geschichte steht symbolisch für zahlreiche andere Beispiele im historischen Verlauf, die das kulturelle und gesellschaftliche Leben in Polen nach dem Zweiten Weltkrieg und durch die sozialistische Zeit prägten. All das steckt als Hintergrundrauschen in Monika Sosnowskas „Facade“ – denn die Nachbildung der mittlerweile ersetzten Stahlkonstruktion für die lediglich sich selbst tragende Vorhangfassade des Gebäudes ist die Grundlage ihrer Arbeit. Sie ließ die Konstruktion kopieren, in allen Einzelteilen und im Maßstab 1:1. Nachdem die perfekte Replik aus 8 x 10 Metern fertig gestellt war, kamen wieder die Kräfte industrieller Baumaschinen zum Einsatz: biegen, zerren, falten und ziehen – ein langwieriger Prozess. Drei Monate hat es gedauert, bis das standhafte Material nachgab, sich seiner neuen Form fügte. In Faltungen und Drehungen hängt die ursprünglich rhythmisch gegliederte Fassade nun dramatisch verwickelt und verbogen an einem einzigen Seil. In den Entwürfen und Bauten Mies van der Rohes einst als Zeichen der Moderne gefeiert und als hohe Ingenieurskunst gewürdigt, überträgt Sosnowska das Stahlgerüst der ikonischen Vorhangfassade der Nachkriegsmoderne in „Facade“ als eigenständige Formgebung in den institutionellen Raum der bildenden Kunst. In dieser neuen Verortung offenbaren Sosnowskas Arbeiten ihren Umgang mit Raum und Architektur nicht nur auf bautechnischer oder physischer, sondern auch auf emotionaler, psychologischer oder historischer Ebene. Die von ihr bearbeiteten Kernelemente adressieren und thematisieren Tendenzen des polnischen Konstruktivismus der 1930er Jahre, internationale Phänomena minimalistischer und konzeptueller Kunst der 1950er und 1960er Jahre sowie der modernistischen Architektur Osteuropas in ihren Gegensätzen und Widersprüchen. Gebäude werden als Orte des Erlebten, Orte der Erinnerung verstanden – mit all ihren geschichtlichen, politischen, psychologischen und anthropologischen Markierungen, die der Architektur im Laufe der Zeit zugefügt werden. Das Zusammenspiel aller vier Werke in Wechselwirkung mit der rauen, unbehandelten Architektur der ehemaligen Montagehalle des Kunstraum Dornbirn ergibt ein psychosoziales Bild unserer Geschichte und Gegenwart. Sosnowska wurde 1972 in Ryki, Polen, geboren. Sie erlebte den Wandel des politischen Systems ihres Heimatlandes vom Kommunismus zur Demokratie und die starken gesellschaftlichen Auswirkungen. 2003 erlangte sie mit ihrer Arbeit „The Corridor“, einer Intervention im Rahmen der Arsenale-Ausstellung der 50. Biennale von Venedig, internationales Ansehen. Vier Jahre später vertrat Sosnowska Polen auf der 52. Biennale von Venedig mit der monumentalen Installation „1:1“.Zur Ausstellung erscheint ein Katalog.

artist

Monika Sosnowska Kunstraum Dornbirn

Ausstellung: Jahngasse 9 - inatura-Montagehalle
A-6850 Dornbirn

Austriahttp://www.kunstraumdornbirn.at/0043-(0)5572-55044show mapshow moreposted 16. Aug 2022

RAGNAR KJARTANSSON - TIME CHANGES EVERYTHING

17. Sep 202229. Jan 2023RAGNAR KJARTANSSONTIME CHANGES EVERYTHING17 September - 29 January 2023 De Pont Museum is delighted to announce the opening of Time Changes Everything,the first solo exhibition in the Netherlands of Icelandic artist Ragnar Kjartansson. The artist’s wide-ranging and internationally celebrated body of work — comprising performances and video installations, as well as painting, graphic work, and sculpture — occupies a unique position in the contemporary art landscape. This survey show at De Pont encompasses the full diversity of the artist’s oeuvre, presenting well-known pieces alongside new installations. Though best-known now for his stunning video installations — Time Changes Everything features no fewer than five of these works — it was as a painter that Kjartansson first entered the international art world, when he represented Iceland at the 2009 Venice Biennale. Over the course of his six-month durational performance, Kjartansson — smoking and drinking as he painted — made a new portrait each day of a male sitter wearing only a pair of Speedos. Displayed in the context of Time Changes Everything, the resulting series of 144 paintings tells the story of this now-classic performance that saw Kjartansson subvert the clichéd notion of the romantic macho male artist. His work — shot through as it is with the artist’s enduring appetite for sublimity, his feminist outlook, and his love-hate relationship with romanticism — continually strives to strike a balance of extremes; of utter abandonment and ironic observation. Kjartansson’s work is simultaneously theatrical and contemplative, uplifting andmelancholy, appealing and terrifying, and it never fails to draw in the viewer. All these qualities are to be found in Kjartansson’s most recent work No Tomorrow (2017–2022), a ballet for eight dancers and eight guitars that he made in collaboration with choreographer Margrét Bjarnadóttir and songwriter Bryce Dessner. His adapted version of the piece for this exhibition takes the form of a six-part video installation with 30 audio channels that make the music an almost physical experience. The viewer at the center of the installation sees the dancers — singing and playing guitar — glide by on the screens. It is a celebration of love, of youth and beauty, of the lightness of being, and of that moment one wishes would last forever. TIMELESSNESS The use of extended repetition as an effect recurs throughout the exhibition. To surrender to it is to be sucked into and then lost in a timelessness that sees narrative and action receding into the background. Bliss (2020), for example, is a live video recording of a 2011 durational performance in which the closing aria from Mozart’s Le Nozze di Figaro is sung continuously for 12 hours, immersing the viewer in a mesmerizing mantra of love and forgiveness that puts the stamina of the performers to the test. And in the contrasting, more subdued, performance Woman in E (2016), a woman repeatedly plays a melancholy E minor chord on an electric guitar — standing on a golden raised dais surrounded by a gold décor, she too holds her audience completely in her thrall. In this work Kjartansson is playing an ingenious game, deploying wit and playfulness to dispense with any notion of the woman being regarded as a model or object. Kjartansson drew inspiration from the rococo paintings of Antoine Watteau for his nine-part video installation Scenes from Western Culture (2015), in which he presents at first sight lightweight imagery to confront us with the inescapable clichés of Western culture.PERFORMER The artist often takes a central role as a performer in his own work. His tragicomic video series Me and My Mother, for example, comprises live recordings of performances with his mother, actor Guðrún Ásmundsdóttir. Kjartansson started the work 20 years ago, and has repeated it every five years since then. It is an intensely personal and multi-layered piece about a mother-son relationship, about performance itself, and about endurance. This work is a cornerstone of the artist’s oeuvre, and last year De Pont acquired its fifth iteration, which will be displayed in the exhibition in combination with the preceding versions. The viewer watches on as the mother and the son grow older, and grow into roles that veer between steadfast determination and fragile vulnerability.In Guilt and Fear (2022), a major new ceramic installation that Kjartansson made in collaboration with a ceramics studio in the Dutch province of Brabant, the artist once again blends the emotional spices that are the essential and inseparable components of our existence. Drawing on a keen sense of humor and irony as well as his ideas on romanticism, Kjartansson touches on feelings surrounding life and death, beauty and danger, control and complete surrender. These emotions, familiar to us all, form a playground of grand and compelling proportions for our fears and desires. The artist also deploys a tragicomic undertone to poke fun at himself, meanwhile, opening up a space for the spectator to become fully immersed, and to emerge both recharged and liberated.

artist

Ragnar Kjartansson

curators

Maria Schnyder, Martijn van Nieuwenhuyzen De Pont, Tilburg

Wilhelminapark 1
5041 EA Tilburg

Netherlandshttp://www.depont.nl/show mapshow more
posted 15. Aug 2022

Ben Vautier - Ben

24. Jun 202220. Aug 2022Ben Vautier - Ben 24 june - 20 august 2022We are happy to announce the opening of the exhibition of Ben. Join us for the opening Thursday 23rd June, from 6 pm ! For BenThe times are amnesic. It celebrates those who “perform” repeatedly, suggesting that they are thwarting thesystem. More than an exposure without the presence of the body. More than a project without amultidisciplinary dimension. More than a demonstration without reconciliation of opposites. Art is everywhereand every appointment is there to prove it.Thedissensus is damaged in complacent representations. The misfortunes of the world are portrayed withthe idea of being witnesses and accusers. The good conscience does its job and that’s it.Ben Vautier sees the world differently. Sixty years since he writes to us and sends us back to our vain vanities.Sixty years since he has been fencing and expressing himself, struggling and igniting himself in a jumble oftragedy and farce, suffering and joy, pros and cons. Praise of the difficulty of being oneself, self-criticismof the ego, aphorisms of all kinds. Ben is there, between truth and lies, between impertinence and wisdom.Ben is a necessary artist.From the late 1950s to today, Ben has been directing and staging himself in a world that fears and amuseshim. Ben is vociferous and stormy. He writes and apostrophes. He gestures and speaks loudly. He is knowingand popular. Ben is probably one of the most extraordinary human beings I have ever known.From all this, from this daily struggle against himself and the ever-evolving time, Ben makes artworks like noother, artworks that are recognizable among all. Familiar and inventive. Artworks that resemble him and inwhich everyone, one day in his life, recognized and found themself. We all have something of Ben Vautier inus, as Ben Vautier tells us something about ourselves, about our misery and joys, about our fears and vanities,about our desires and failures. In short, Ben is the only man in search of the truth, probably a moralist. Nevera moralizing person.You always must look at Ben’s work over and over again. It is necessary to follow its course and itsmetamorphoses. You should see him trying to build his language. “I would draw shapes that I would throwaway if I could find their source of influence,” he wrote about his early work. We must hear him looking for “abeginning of personality” when the shape of the Bananas appeared in 1957. And then come the Lines, theTasks, the Sculptures of Objects, the Suspended Objects, the Vomit, the Imbalance, the Holes, the LivingSculptures, the Lack and the All...1.The All like the search for reality in its totality, the All so that nothing escapes it. Between decoy and control.Probably a superb definition of creation.Because Ben is a creator. The word seems to be overused and suits him well. A creator who exposes, signs,and sells God, his rival, at any price. A creator who runs and does justice to vague Terrains. A creator whoshapes words and invents, as his friend Jon Hendricks says on this matter Ben’s “Full Striptease”, a wordpainting. And then there are the Gestures which, beyond the “actions” - or “Aktion”, if you want to make itGermanic and knowing - beyond the “Performances” and other “Happenings”, the “Events” of George Brechtwith whom they have a tender affinity, are the very expression of life in all its states, of the body in all itsmanifestations: “Banging my head against a wall”, “Spitting”, “Shining other people’s shoes”, “Digging ahole and selling dirt”, “Urinating”, “Getting into the water dressed with an umbrella”, “Painting me”,“Fighting me”...)2, if I may only name a few. To say everything, to do everything, never to stop, never to know a break. Thebody, his body, mine, yours in all its forms to never stop fighting against the inevitable. Ben, never out of the game. Ben, “our contemporary”, in the absolute urgency to be and to leave traces. Tonever disappear. Bernard Blistène1 French translation : les Lignes, les Tâches, les Sculptures d’Objets, les Objets suspendus, le Vomis, le Déséquilibre, les Trous, les Sculptures vivantes, le Manque et le Tout... 2 French translation : « Me cogner la tête contre un mur », « Cracher », « Cirer les chaussures des autres », « Creuser un trou et vendre de la terre », « Uriner », « Rentrer dans l’eau tout habillé avec un parapluie », « Me peindre », « Me battre »...

artist

Ben Vautier Lange + Pult, Zürich/Auvernier

Rämistrasse 27
CH-8001 Zurich

Switzerlandhttps://www.langepult.com+41 44 212 2000 show mapshow moreposted 14. Aug 2022

Nicole Wermers - Reclining Fanmail

29. May 202231. Aug 2022Nicole Wermers Reclining Fanmail 29.05.–21.08.2022 In den Arbeiten von Nicole Wermers werden die Auseinandersetzung mit urbanem Raum und Überlegungen zur Formensprache der Moderne und ihren Materialien miteinander verbunden. Sie werden gleichermassen auf ihre soziologischen, ökonomischen und psychologischen Aspekte hin untersucht. Dies äussert sich in einem Interesse daran, wie durch reale und reproduzierte Materialien, Oberflächen und Räume Begriffe wie Begehren und Macht kommuniziert werden. Wermers Arbeiten entschlüsseln Strategien der urbanen Konsum- und Alltagskultur, wie zum Beispiel die Appropriation von Kunstgeschichte als einer Form von kulturellem Kapital, und verfolgen die Entwicklung von komplexen Erscheinungen der Moderne zu homogenen Designoberflächen. Für das Kunsthaus Glarus hat Nicole Wermers eine neue Werkgruppe erarbeitet, die sich der ‹Liegenden›, einem bekannten Motiv aus der Kunstgeschichte, widmet. Die Figuren rufen nicht nur die skulpturalen Äquivalente im öffentlichen Raum auf, sondern verweisen durch ihre Positionierung auf Reinigungswägen auch auf einen Zusammenhang, der meist am Rande des öffentlichen Lebens stattfindet. Die Care-und Maintenance-Arbeit. Durch ihre je individuelle Gestaltung werden die Reinigungswägen gleichzeitig zu skulpturalem Element als auch zum Sockel. In Kombination mit der ‹Liegenden› entsteht hier eine Situation, in der sich der weibliche Körper sowohl von seiner kunstgeschichtlichen Zuweisung, als auch der Maintenance-Arbeit eine Pause gönnt.

artist

Nicole Wermers Kunsthaus Glarus

Im Volksgarten
CH-8750 Glarus

Switzerlandhttp://www.kunsthausglarus.ch/+41 55 640 25 35show mapshow moreposted 13. Aug 2022

New York: 1962-1964

22. Jul 202208. Jan 202322.07.2022 - 08.01.2023**New York: 1962-1964**New York: 1962-1964 explores a pivotal three-year period in the history of art and culture in New York City, examining how artists living and working in New York responded to their rapidly changing world, through more than 150 works of art—all made or seen in New York between 1962-1964.New York: 1962-1964 uses the Jewish Museum’s influential role in the early 1960s New York art scene as a jumping-off point to examine how artists living and working in New York City responded to the events that marked this moment in time.Presenting works by Diane Arbus, Lee Bontecou, Chryssa, Merce Cunningham, Jim Dine, Martha Edelheit, Melvin Edwards, Dan Flavin, Lee Friedlander, Nancy Grossman, Robert Indiana, Jasper Johns, Donald Judd, Ellsworth Kelly, Yayoi Kusama, Norman Lewis, Roy Lichtenstein, Boris Lurie, Marisol, Agnes Martin, Louise Nevelson, Isamu Noguchi, Claes Oldenburg, Yvonne Rainer, Robert Rauschenberg, Faith Ringgold, Larry Rivers, James Rosenquist, Miriam Schapiro, Carolee Schneemann, George Segal, Jack Smith, Harold Stevenson, Marjorie Strider, Mark di Suvero, Bob Thompson, and Andy Warhol, among many others, the exhibition aligns with the years of Alan Solomon’s tenure as the Jewish Museum’s influential director. Solomon organized exhibitions dedicated to what he called the “New Art,” transforming the Jewish Museum into one of the most important cultural hubs in New York.During the timeframe explored in this exhibition, epoch-changing events—such as the Cuban Missile Crisis (1962), March on Washington for Jobs and Freedom (1963), and the assassination of President John F. Kennedy (1963)—fundamentally altered the social and political landscape of New York City, and the nation. An unprecedented economic boom broadened the array of available consumer goods, and an expanding media network introduced new voices into increasingly urgent conversations about race, class, and gender. Emerging in this context, a generation of New York-based painters, sculptors, dancers, filmmakers, and poets rose to prominence, incorporating material directly from their urban surroundings and producing works that were as rich and complex as the city itself.In conjunction with New York: 1962-1964, the Jewish Museum is partnering with Film Forum and Film at Lincoln Center. From July 22 to August 11, Film Forum presents 1962…1963…1964, which includes 35 films that showcase a moment in movie history that saw the last gasps of the Hollywood studio system. From July 29 to August 4, Film at Lincoln Center presents New York, 1962-64: Underground and Experimental Cinema, focusing on a rich period of truly independent cinema.

artists & participants

Diane Arbus, Lee Bontecou, Chryssa, Merce Cunningham, Mark di Suvero, Jim Dine, Martha Edelheit, Melvin Edwards, Dan Flavin, Lee Friedlander The Jewish Museum, New York

1109 Fifth Avenue at 92nd Street
NY-10128 New York

United States of Americahttps://thejewishmuseum.org/show mapshow more
posted 12. Aug 2022

Nikita Chernoritsky. The Edge

01. Jul 202221. Aug 2022Venue: MOSCOW MUSEUM OF MODERN ART, 25 PETROVKA STREET, FLOOR 1 July 1 — August 21, 2022**Nikita Chernoritsky. The Edge**Curated by: Polina Mogilina, Daria KamyshnikovaThe Moscow Museum of Modern Art and the Triumph Gallery present The Edge, an exhibition by Nikita Chernoritsky, dedicated to human boundary states and the exploration of the concept of external and internal boundaries and limits. The exhibition is part of the Young Lions, a joint program to support young art.The Edge is a project by Nikita Chernoritsky, which continues the exhibition Method. Facets (2018) and represents the next step in the work with space perception. The artist’s paintings are made on a blank black background, and all depicted objects sharply protrude from it by bright local color spots, as if captured by a beam of light. In these works, one can notice features close to cinematic art, hyperrealism, and associations with the technique of contrasting Spanish painting of the seventeenth and eighteenth centuries. At the same time all the figures depicted by the artist are depersonalized, deprived of individuality. They can be identified by their outlines, and the objects themselves are hidden behind draperies of fabric and glossy material. Here, finally, the theme of borderline state is revealed.Familiar objects change their identity in the eyes of the viewer against the black background, associated with the «edge» that absorbs all existence, which is beyond time and place and is essentially void. A series of monochrome trees even more vividly reflects the metaphor of transition into another state, and the subjects of the works balance between nothingness and permanent presence. Pale, lifeless tree trunks, frozen in darkness, continue to live in spite of everything. The theme continues with a series of video works in which the characters, once again acting against a black background, put on masks, hiding their own identities. The static nature of the shots and the lack of context lead the viewer to doubt the reality of the existence of the objects, emphasizing the lifelessness of the characters in the video.Nikita Chernoritsky specifically refuses titles for his works, pointing out the absence of an interpretation by the author. Everyone can find their own meaning in his works, relying only on personal experience, personal associative series and psycho-emotional state. At the same time it is the viewer who «pulls» the depicted objects from oblivion, bringing them to life, breaking the peace of the prevailing darkness. Being on the borderline between the real world and the metaphysical, space and images of Nikita Chernoritsky settle in the deepest depths of the subconscious, in which the artist plunges day after day in search of meanings and himself.Nikita Chernoritsky (born in 1999, Moscow) is an artist, director and curator. Member of the artistic dynasty Chernoritsky/Sokolovs (KUKRYNIKSY). He is also the author of the project Wanderers. In 2017 Nikita graduated with honors from the Russian Academy of Fine Arts and is currently studying at the Surikov Moscow State Academy of Arts in the workshop of Aidan Salakhova. Since 2020, a member of the artists’ union (MOSKh, TSKhR). Since 2017 the artist has received a grant from the President of the Russian Federation, in 2018 he was awarded the gold medal of the Russian Academy of Arts, in 2020 — the bronze medal of the Russian Union of Artists ‘for contribution to the national art’.In his projects, the artist explores borderline human states, focusing on the study of the spectrum of feelings and states. The use of different media, as well as work in the borderline genre of visual and theatrical art is a special feature and method of self-expression of the author.Free Workshops School of Contemporary Art The School of Contemporary Art Free Workshops is an educational platform of the Moscow Museum of Contemporary Art for young artists and curators. The School was founded in 1992 by a group of artists and art critics, including Alexander Ponomarev, Vladimir Kupriyanov, Vladimir Nasedkin, MSU professors Vera Dazhina and Valery Turchin. At the School, students have the opportunity to study with the best teachers, successful cultural figures, famous philosophers and contemporary art theorists. During their studies young artists and curators are immersed into the art world, participating in master classes, group exhibitions and festivals. Being a part of the Museum, Free Workshops offer students a unique opportunity to study theoretical and practical aspects of contemporary art, being in its epicenter. At all stages of the artist’s development, the Museum and the School provide significant support: participation in group exhibition projects (Workshops annual exhibitions of young art, group projects of young curators), the opportunity to organize the first personal exhibition (MMOMA Young Art Support Program).About Triumph Gallery Triumph Gallery was founded by Emelyan Zakharov and Dmitry Hankin in 2006. Today the gallery cooperates with major Russian and foreign artists.The Triumph Gallery strives to bring in new voices and viewpoints to culture. The gallery presents contemporary art through a multi-format program including solo and group exhibitions, institutional projects, and research initiatives.About the Young Lions program The Young Lions is a contemporary art program by Triumph Gallery, which began in 2015. The program features artists who have already participated in large exhibitions and are familiar to the public, are winners and nominees of art awards. As part of Young Lions, the artists present their debut solo projects in the museum’s exhibition spaces and have the opportunity to take a fresh look at their works, placed in a different context.

artist

Nikita Chernoritsky MMOMA Moscow

25/1 Petrovka st.
107031 Moscow

Russian Federationhttp://www.mmoma.ru/enshow mapshow more
posted 11. Aug 2022

Italia - Zwischen Sehnsucht und Massentourismus

12. Mar 202219. Sep 202212.3. – 11.9.2022 | Reinhart am Stadtgarten**Italia - Zwischen Sehnsucht und Massentourismus**Die Ausstellung Italia lädt ein zu einer überraschenden Reise an den Sehnsuchtsort Italien. Dabei trifft das Arkadien vergangener Epochen auf die schonungslose Gegenwart: Anhand von über siebzig Werken von namhaften Künstlern wie Claude Lorrain, Arnold Böcklin und Anselm Feuerbach bis zur Kunst der Gegenwart wird ein komplexes Bild eines Landes gezeichnet, das uns bis heute fasziniert als Wiege westlicher Kultur ebenso wie als attraktive Reisedestination. Italien, «das Land, wo die Zitronen blühn», wie Goethe 1783 in seinem Lied der Mignon den Ort der Sehnsucht fasste, war über Jahrhunderte ein einzigartiger Anziehungspunkt für Kunstschaffende. Hier fand die Italiensehnsucht einen unvergesslich poetischen Ausdruck, in dem auch sein eigener Wunsch mitschwang, das Land zu bereisen.Schon seit der frühen Neuzeit übte die Wiege der Künste eine ausserordentliche Faszination auf die europäischen Künstlerinnen und Künstler aus. Michelangelo, Raffael und Leonardo galten als unumstrittene Höhepunkte und die Antike war hier wie nirgendwo anders unmittelbar erfahrbar. Italien war obligates Ziel für die klassische Bildungsreise von Adligen oder eines Gentleman aus gutem Hause. Literaten und Wissenschaftler folgten denselben Kulturpfaden. Vor allem aber waren es bildende Künstler, die in den Süden pilgerten, um die Vorbilder der Antike und Renaissance zu studieren und die lichtdurchflutete Campagna zu malen, oder sich gleich in der Ewigen Stadt niederzulassen.In Italien suchten sie nach Freiheit und Unabhängigkeit in einem umfassenden – künstlerischen und politischen – Sinn. Fernab von der gesellschaftlichen Enge der Heimat entwickelte sich ein lebhaftes Experimentierfeld, das besonders bei der Landschaftsdarstellung mit unterschiedlichsten Praktiken und Ausformulierungen von idealisierender Überhöhung bis zur naturalistischen Studie und reinen Pleinairmalerei seinen Ausdruck fand. Diese Bilder prägten während Jahrhunderten die Vorstellungen von Italien. Von den Bentvueghels des niederländischen Barock über die Klassizisten bis hin zu den Deutsch-Römern zog es Kunstschaffende mit immer wieder neuem Blick ins Bel Paese.Im 20. Jahrhundert änderte sich diese Sicht: Die einstmals noble Grand Tour wich dem Massentourismus, die Weltkriege führten zu einer kritischen Auseinandersetzung mit der eigenen Geschichte. Der idealisierte Sehnsuchtsort war einer nüchternen, unverstellten Betrachtung gewichen. Die Arte Povera unterlief in den 1960er Jahren mit einer radikalen Offenheit gegenüber Materialien und künstlerischen Praktiken die Vorstellungen klassischer Kunst und Kultur. Zwischen den Polen Natur und Kultur, Anarchie und Ordnung bewegend, stellten sie das über die Jahrhunderte idealisierte Bild ihrer Heimat auf den Kopf und befragten das Italien von damals mit einem neuen Blick und mit revolutionärem Geist. Das von aussen verklärt gesehene Land wurde nun von innen reflektiert betrachtet. Heute beleuchten Künstlerinnen und Künstler wie Monica Bonvicini und Luigi Ghirri ihre eigene Heimat in schonungsloser Direktheit.Aus Anlass der Ausstellung Italia wird im Obergeschoss des Reinhart am Stadtgarten unter dem Titel Nord – Süd erstmals eine umfangreiche Ausstellung zur Kunst seit den 1950er Jahren gezeigt. Hier trifft die Kunst des Südens, die unmittelbare Nachkriegsavantgarde mit der umfangreichen Arte Povera-Sammlung, auf Werke von Kunstschaffenden aus dem Norden, insbesondere aus Deutschland. Dort wurde Düsseldorf dank seiner Kunstakademie zu einem bedeutenden Gravitationszentrum der Kunst. Zu sehen sind in dieser Sammlungsausstellung Werke der bedeutendsten Vertreter der italienischen Nachkriegsavantgarde wie Lucio Fontana, Mario Merz, Marisa Merz und Luciano Fabro neben herausragenden Künstlerpersönlichkeiten aus dem deutschsprachigen Raum wie Gerhard Richter, Imi Knoebel und Isa Genzken. Die Präsentation ermöglicht einen vertieften Einblick in zwei Schwerpunkte der Winterthurer Sammlung.

artists & participants

Carl Blechen, Arnold Böcklin, Alighiero Boetti, Monica Bonvicini, Jan Both, Luciano Fabro, Anselm Feuerbach, Lucio Fontana, Isa Genzken, Luigi Ghirri Kunst Museum Winterthur

Museumstrasse 52
CH-8400 Winterthur

Switzerlandhttp://www.kmw.ch/show mapshow moreposted 10. Aug 2022

Wael Shawky - Dry Culture Wet Culture

11. Mar 202228. Aug 2022Wael Shawky: Dry Culture Wet Culture 11 March – 28 August 2022 M Leuven presents a major solo exhibition by Egyptian artist Wael Shawky. Egyptian artist Wael Shawky (1971) spent many childhood years in Alexandria, Egypt and Mecca, Saudi Arabia where he witnessed the transition from a nomadic society to a modernised society. This transition from Dry Culture to Wet Culture made a deep and lasting impression on him. Social change remains central to his art and in particular the question how this intertwines with themes such as identity, religion, politics and history. He sees his artworks as a way of making these issues tangible. He works with various media including paintings, drawings, sculpture, film and even music.  At the exhibition 'Dry Culture Wet Culture' you can see two new installations. The first is 'The Gulf Camp project: The Wall #2’ and is part of 'The Gulf Project Camp' series, a project that explores the history of the Arabian peninsula from the 17th century onwards. The installation includes a wall covered in black graphite on which cloths have been stretched out recalling Bedouin tents. It brings together a traditional nomadic form of society with a contemporary, industrialised one. The second new installation was made especially for M. Based on Shawky's interest in societies and local traditions, he tries to adapt his works and the way they are presented to the surroundings. The museum hall, with a panoramic view of the city of Leuven, was the starting point for 'The Gulf Camp Project': Drama' which is a large installation that embraces the concepts of urbanity and architecture.M also shows drawings, woodcuts and a film from the 'Cabaret Crusades' series. At its centre is a film trilogy that tells the story of the Crusades, but then from an Arabic perspective. The characters are played by puppets - some of them are on display in the exhibition. ‘The Cave’ is also a film work. It shows Shawky walking through a supermarket while reciting a passage from the Koran. The video raises questions: Is it an attempt to link economics and religion? Or does he just want to make it clear that those worlds are incompatible? Biography Wael Shawky studied at the universities of Alexandria (Egypt) and Pennsylvania (US). Currently he lives and works in Alexandria and Philadelphia. In the past he had solo exhibitions at Louvre Abu Dhabi, Abu Dhabi, (2020); ARoS, Aarhus Kunstmuseum, Aarhus, Denmark (2018); Museum of Contemporary Art (MOCA), Yinchuan, China (2017); Castello di Rivoli, Turin, Italy (2016); MATHAF, Doha, Qatar (2015); MoMA PS1, New York, (2015) and K20 Düsseldorf, Germany (2014-15). His work has won several grants and awards, such as the Mario Merz Prize (2015); the Award for Filmic Oeuvre created by Louis Vuitton and Kino der Kunst (2013) or the Abraaj Capital Art Prize (2012). In 2010 he founded MASS Alexandria, an educational institution for promising artists active in Egypt. His work is represented by Lisson Gallery and Sfeir Semler Gallery.

artist

Wael Shawky Museum Leuven

Leopold Vanderkelenstraat 28
B-3000 Leuven

Belgiumhttp://www.mleuven.beshow mapshow more
posted 09. Aug 2022

Lu Pingyuan: “Trapping Cooking, Cooking Trapping, It’s a Lovely Life

30. Jul 202230. Oct 2022OCAT Shenzhen July 30 - Oct 30, 2022**Lu Pingyuan: “Trapping Cooking, Cooking Trapping, It’s a Lovely Life”**Artist Lu Pingyuan's latest solo exhibition "Trapping Cooking, Cooking Trapping, It's a Lovely Life" is now on view at OCAT Shenzhen, featuring a series of site-specific new works.Lu displaces the imaginary and physical spaces and make them collide, constructing a field comprising multiple narrative relations. Taking the two dimensions of the gallery hall and the storybook, the exhibition presents a series of artistic creations inspired by the fairytale “Hansel and Gretel”. In the story, a sister and brother, lost in the forest, are enticed into a candy house in a witch’s trap and finally outwit the witch and return home. Lu extracts imageries from the story including children, family, candy house, cookie crumbs, and boiler, and reorganizes them into a new reality. Combining popular culture, personal experience, and the public's real-life anxieties, he creates a theatre of polyphonic narratives parallel to the meta-text.About Lu Pingyuan Lu Pingyuan (b.1984, Zhejiang Province, China) lives and works in Shanghai. Spanning text, installation, painting, and sculpture, Lu’s works are imbued with narrative and metaphor. Drawing inspiration from art history, classic literature, popular culture, and personal experience, the artist builds a gigantic world of fantasy homologous with reality to reveal the spiritual predicament of contemporary human beings and rediscover the potential for spiritual connection between people and the universe. His works have been exhibited extensively in both national and international institutions and biennales. Recent solo exhibitions include: “Trapping Cooking, Cooking Trapping, It’s a Lovely Life”, OCAT Shenzhen, Shenzhen, China, 2022; “The First Artist”, MadeIn Gallery, Shanghai, China, 2021; “Imperishable Affection”, Powerlong Museum, Shanghai, China, 2020; “KOLA”, chi K11 Art Museum, Shanghai, China, 2019; “HOME ALONe”, MadeIn Gallery, Shanghai, 2017; “James Stanley-The Seventh Earl of Derby”, Center for Chinese Contemporary Art, United Kingdom, 2016; “ON KAWARA”, MadeIn Gallery, Shanghai, 2016; “Unexpected Discoveries”, MadeIn Gallery, Shanghai, 2015; “Time Capsule”, Gallery Box, Gothenburg, Sweden, 2011.*About OCAT Shenzhen OCAT Shenzhen, founded in 2005, is the headquarters of OCAT Museums. As the museum group’s first site, OCAT Shenzhen is committed to practice and research in the fields of contemporary art and theory both inside China and in the international arena. With independence, professionalism, and public service as its core values, OCAT aims to promote cross-platform exchanges between domestic and global contemporary art communities through exhibitions, research projects, academic exchanges, public education, publications, and international art residencies. It strives to establish a contemporary art operation system rooted in the domestic situation, and to develop into a non-governmental art institution with international standards and impact.

artist

Lu Pingyuan OCAT Shenzhen / Shanghai

F2 Building, Enping Road, Nanshan District
Shenzhen

Chinahttps://shenzhen.ocat.org.cnshow mapshow moreposted 08. Aug 2022

Irina Gheorghe. Things Which Are Not Here, of Which We Cannot Say

20. Jul 202210. Sep 202220.07-10.09.2022**Irina Gheorghe. Things Which Are Not Here, of Which We Cannot Say**We invite you on Wednesday, July 20, between 7-10 pm, to the opening event of Irina Gheorghe’s first solo show in Romania, “Things Which Are Not Here, of Which We Cannot Say.” At 8 pm the artist’s live performance “Preliminary Remarks on the Study of What Is Not There” will take place inside the exhibition space.Irina Gheorghe’s project is based on her PhD research concluded in 2021 at GradCAM / Technological University Dublin, “Treason of the Senses: Practices of Estrangement or How Art Speaks of What Is Not There.” Her study questions the connections between art, philosophy, and science in researching unobservable realities and the role that artistic techniques of estrangement – methods through which common experience becomes unfamiliar – can play inside this process. The project has been exhibited since 2018 in various international venues and contexts, in a series of exhibitions and performances that evolve and develop intertwined in time and space, each event generating the coordinates of the following one: 2018 “Preliminary Remarks on the Study of What Is Not There,” Romanian Cultural Institute Berlin, 2019 “All the Things Which Are Not Here,” Swimming Pool Sofia, Bulgaria, 2020 “Betraying the Senses, or How to Speak of What Is Not There,” Project Arts Centre Dublin, Ireland, 2021 “Methods for the Study of What Is Not There,” Künstlerhaus Bremen, Germany.For the project’s first Romanian presentation, Irina Gheorghe has created a site-specific installation that recollects and integrates past elements and previous occurrences in order to approach what is not present inside Ivan Gallery’s space. Each iteration of the artist’s intervention brigs forth an extra feature in regards to the previous one, thus besides the mural drawings in adhesive tape, the photographs, and the performance, the display showcases the new series of collages which give the title of the exhibition, “Things of Which We Cannot Say.”“Preliminary Remarks on the Study of What Is Not There” is a performance evolving since 2017 in accordance to each of its occurrences. In it, the artist traces through body language and voice an imaginary map, a guided tour among the things which are not present in space, which have appeared, or not, in its previous instances. Besides a certain amount of improvisation, the performance score is partially directed by the mural site-specific tape installation, “All the Things Which Are Not There” (2018-present), colourful drawings which sort out and place in space various degrees of the ‘unobservable’, including fragments of the shapes taken by these invisible maps in the project’s past instances. Their purpose is not to make present things which are absent, but rather to test the capacity of this personal language of signs and gestures to communicate, to broadcast an invisible dimension.Some sequences of corporeal movements and gestures from previous performances are recorded in the series of photographs “Methods for the Study of What Is Not There” (2019-present), in which actions of measuring and classifying various degrees of ‘absence’ are confronted to the absence specific to the transient nature of the live event. In the audio piece “Routes to What Is Not There” (2020), the movement followed by the performance among unobservable entities is being transferred to the visitors, who are being invited to trace their own map by following a series of instructions. The exhibition space thus becomes the meeting point of multiple maps of absence, not only due to the works present in space, but also through the collective trajectories of invisible routes.Irina Gheorghe (b. 1981, Romania) works primarily with performance, in combination with drawing, installation, photography or video, to address the tensions which appear in the attempt to speak about things beyond our possibilities of observation, from extraterrestrial life to hypothetical planets. Irina also works as part of the artist duo The Bureau of Melodramatic Research to investigate how passions shape contemporary society, as well as our affective relationship to a non-human universe. Her work was shown at Künstlerhaus Bremen, Grazer Kunstverein, Project Arts Centre Dublin, Swimming Pool Sofia, Changing Room Berlin, Romanian Cultural Institute Berlin, Zona Sztuki Aktualnej Szczecin, Centre Culturel Irlandais Paris, Centre for Contemporary Art Derry, Chapter Thirteen / Glasgow International, Dublin City Gallery The Hugh Lane, HOME Manchester, Salonul de Proiecte Bucharest, CAC Vilnius, TRAFO Budapest, Savvy Contemporary Berlin, Pratt Manhattan Gallery New York, Times Museum Guangzhou, MNAC Bucharest, Skolska 28 Prague, BAK Utrecht, DEPO Istanbul, Galeria Posibila Bucharest, etc. In 2021 Irina has concluded her PhD in practice at GradCAM, supported by the Technological University Dublin. She is based in Berlin.The exhibition “Things Which Are Not Here, of Which We Cannot Say” can be visited in Ivan Gallery’s space inside Atelierele Malmaison on Calea Plevnei 137C, B side, 1st floor, until the 10th of September 2022, Thur-Sat 3-7 pm, or by appointment outside the visiting hours.Special thanks to: Rafaela and Vera Malic, Declan Clarke, Jamie Lemoine, Nadja Quante, Ioana Gheorghiu and the Cabinet 44 team (Virginia Toma, Ramon Sadîc, Adelina Ivan), Cristina Vasilescu, Kristin Wenzel, Laurențiu Coțac, Larisa Crunțeanu, Elena and Ștefan Gheorghe, Adrian Gheorghe, Cristina Rădulescu and Eva.

artist

Irina Gheorghe Ivan Gallery, Bucharest

Dr. Dimitrie Grecescu 13
050598 Bucharest

Romaniahttp://ivangallery.com/show mapshow more
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