daily recommended exhibitions

posted 22. Feb 2024

Native America: In Translation

26. Jan 202412. May 2024
January 26 – May 12, 2024 **Native America: In Translation** Traveling Exhibition: Art on Hullfish, Princeton University Art Museum, NJ February 5 – April 24, 2022 Cantor Fitzgerald Gallery, Haverford College, PA October 21 – December 10, 2022 Milwaukee Art Museum, WI February 24 – June 25, 2023 University of South Florida Contemporary Art Museum, Tampa, FL August 25 – December 1, 2023 Museum of Contemporary Photography at Columbia College Chicago January 26 – May 12, 2024 Blanton Museum of Art, Austin August 4, 2024 – January 5, 2025 Native America: In Translation, curated by Wendy Red Star, considers the wide-ranging work of photographers and lens-based artists who pose challenging questions about land rights, identity and heritage, and histories of colonialism. The exhibition extends Red Star’s work as guest editor of Native America, Fall 2020 issue of Aperture magazine. In the Apsáalooke (Crow) language, the word Áakiwilaxpaake (People of the Earth) describes Indigenous people living in North America, pointing to a time before colonial borders were established. In this exhibition, artists from throughout what is now called North America—representing various Native nations and affiliations—offer diverse visions, building on histories of image-making. Some of the artists presented in Native America: In Translation are propelled by what the historian Philip J. Deloria describes as “Indigenous indignation”—a demand to reckon with eviction from ancestral lands—while others translate varied inflections of gender and language and the impacts of climate change into inventive performance-based imagery or investigations into personal and public archives. “The ultimate form of decolonization is through how Native languages form a view of the world,” Red Star notes. “These artists provide sharp perceptions, rooted in their own cultures.” Works by: Rebecca Belmore, Nalikutaar Jacqueline Cleveland, Martine Gutierrez, Duane Linklater, Guadalupe Maravilla, Kimowan Metchewais, Alan Michelson, Koyoltzintli, and Marianne Nicolson. Native America: In Translation is made possible, in part, with generous support from the National Endowment for the Arts


Wendy Red Star 
MoCP Chicago

Museum of Contemporary Photography / Columbia College Chicago | 600 S. Michigan Ave
IL-60605 Chicago

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posted 21. Feb 2024


18. Nov 202331. Mar 2024
18.11.2023 - 31.03.2024 **Kay Rosen: NOW AND THEN** The Weserburg Museum für moderne Kunst is presenting the first institutional solo exhibition of Kay Rosen in Europe. Ever since the 1970s, the American artist (b. 1943 in Corpus Christi, Texas; lives in New York City and Gary, Indiana) has been using language as artistic material. She is internationally known above all for wall works which render individual words, sentences or series of letters, often in massive dimensions. Coming together here in an impressive manner are minimalist form, aesthetic impact and intelligent contents. Kay Rosen imparts perplexing twists to everyday concepts and words through their arrangement as well as their design in terms of typography and color. Whether it is a matter of neologisms, redefinitions or onomatopoetic explorations, Kay Rosen repeatedly reveals surprising levels of verbal significance. Often coming into focus are issues involving a critique of society. The exhibition in Bremen brings together wall works, paintings, drawings, prints and videos. To be seen in addition to exemplary major works are also new, wall-filling paintings that were especially developed for the spaces of the museum. The Weserburg is thereby making possible, in recognition of the artist’s eightieth birthday, a fresh encounter with and rediscovery of a complex artistic oeuvre. Director: Janneke de Vries


Kay Rosen 


Ingo Clauß 
Weserburg Bremen

Weserburg | Teerhof 20
28199 Bremen

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posted 20. Feb 2024

Taipei Biennial 2023 - Small World

18. Nov 202324. Mar 2024
November 18, 2023–March 24, 2024 Taipei Fine Arts Museum No. 181 Zhongshan N. Road Sec. 3 Taipei 10461 Taiwan **Taipei Biennial 2023 Small World** Organized by Taipei Fine Arts Museum (TFAM) and co-curated by independent curator Freya Chou, director and curator of Beirut Art Center Reem Shadid, and New York–based senior writer and editor Brian Kuan Wood, the Taipei Biennial 2023, titled Small World, is currently on view through 24 March 2024. Following in the footsteps of Taipei Biennial 2020, which held an international collaboration with the Centre Pompidou-Metz, TFAM will showcase the screening program and selected video works from Taipei Biennial 2023 Small World at SculptureCenter in New York, where “Small World Cinema” will run from 25 January through 25 March and feature over 20 video works by several participants, including Taiwanese artists Li Yi-Fan, Su Yu-Hsin, Yin-Ju Chen, and Wang Ya-Hui alongside Taiwanese-American artists Jen Liu and C. Spencer Yeh. Sound and music connect the “Small World” Music, in parallel to visual arts, plays an important role in Taipei Biennial 2023 as a medium for communicating and exploring intimate and vulnerable relations between our societies, and ourselves, and each other. By transforming one of the gallery spaces into the Music Room, three groups of musicians were invited to organize and host diverse programmes such as forums, screenings, concerts, listening sessions, and live performances. Segments of the events are recorded to play back between performance periods in the Music Room. In an enormous world, the Music Room is designed as a temporary gathering space allowing intercultural exchanges and connections between different small groups of people who make significant contributions to their own fields. In December 2023, the first Music Room program, “ex-DJ,” was organized and hosted by dj sniff in collaboration with DJ Rex Chen, a Taichung-based turntablist; SlowPitchSound, a Sci-Fi turntablist from Toronto; and Mariam Rezaei, a turntable composer and performer from Newcastle. A limited number of mix tapes will be released in the future to showcase their musical practice during the residency and sources of inspiration. The second Music Room program, “Hostbuster,” runs through 27 January 2024. . As musicians, artists, curators, and organizers active in Indonesia, Julian Abraham “Togar” & Wok the Rock have cultivated a practice of hosting and being hosted, listening and being listened to. During their month-long residency at the Biennial, they aim to explore and unfold the sonic connection between Indonesia and Taiwan by facilitating a series of gatherings. The third and final Music Room program, “Sound Worlds Rotation,” will be hosted by Ting Shuo Hear Say from 21 February to 17 March. Based in Tainan, Taiwan, and run by Alice Hui-Sheng Chang and Nigel Brown, Ting Shuo Hear Say will invite ten artists for a series of rotating three-day residencies exploring new improvisational possibilities. Recordings, documentation, and other artifacts and traces of the collaborations will remain as “residue” within the space following the residencies. Resonating with the Music Room programs are works in the exhibition that engage with music and sound within the exhibition Jacqueline Kiyomi Gork expands acoustical treatments of space into objects of heightened sensitivity and feeling. Her work Not Exactly (Whatever the New Key Is), 2017–ongoing, blasts resonant frequencies from an array of blowers which inflate a soft vinyl structure whose black color blurs into the darkness of the room. The complex effect of sonic immersion and spatial reconfiguration causes the room itself to appear emotionally responsive, transforming the private sensations into the ambient and reflective states of being shared with surrounding and sympathetic architecture. Nikita Gale’s GRAVITY SOLO III (HYPERPERFORMANCE), 2022, assembles readily available objects and ubiquitous consumer technologies, two large pieces of red calcite “play” a keyboard, producing a humming, droning tone that changes over the course of this performance without a performer. Patricia L. Boyd’s Operator , 2017–ongoing, was shot using a custom-built system of motorized camera rigs, which functions as an interrogation of the soundstage as a site of production. By equating the duration of the film for each presentation with monetary value from loan repayment scheme, Boyd also reflects the economic relationship between artist and institution. Meanwhile, one of the participating artist groups, Hide and Seek Audiovisual Art, brings together a group of Chinese-speaking cultural workers from Taiwan, Hong Kong, ,Mainland China, and Malaysia, to explore how people with subtly different individual experiences can find a place for themselves in mainstream culture. Through collaborative writing, the participants will produce interpretations of some of the Biennial works, which will be recorded as audio guides and made available one month before the Biennial’s conclusion.
Taipei Biennial

TAIPEI FINE ARTS MUSEUM | No. 181, Sec. 3, Zhongshan N. Rd., Zhongshan Dist.
10461 Taipei City

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posted 19. Feb 2024

Tursic & Mille. Sweet Nothings

11. Jan 202424. Feb 2024
Jan 11 — Feb 24, 2024 | New York, Upper East Side Opening on Thursday, January 11, 2024 from 6 to 8 pm **Tursic & Mille Sweet Nothings** Almine Rech New York, Upper East Side is pleased to present Sweet Nothings, Tursic & Mille's seventh solo exhibition with the gallery, on view from January 11 to February 24, 2024. With an artistic partnership spanning more than two decades, painters Tursic & Mille have been at the forefront of contemporary painting, redefining the limits of the medium in empirical work in which the materiality of paint, the concept, the process and images shape a personal way of thinking in painting. With their landscapes, erotica, portraits and abstract compositions, Tursic & Mille blur pre-existing hierarchies between all kinds of images, aiming to go forward with the history and genre of painting as it exists in the 21st century. Their latest exhibition presents a profound exploration of painting itself through five series of new works: The exhibition opens with a thought-provoking piece titled Mouse. The artists discovered a deceased rodent amidst their paper images, a poignant symbol of overconsumption and, by extension, the human condition. This incident inspired a series of paintings, titled Eaten by the Mouse, each preserving accidental compositions. Notably, the show will include a still life born from the unexpected collaboration with the mouse. Tursic & Mille's practice evolved from image reproduction to a profound exploration of the image as an object. Over time, the Torn Papers models used for painting, damaged and transformed in the process, became captivating new subjects. Portraits, landscapes, and more transformed into engaging still lifes, marking a shift in perspective that challenges traditional definitions of art. The Papers are a unique collection of abstract paintings. These A3-sized sheets serve as a spaces for wiping brushes and testing colors during painting sessions. These accidental, unconscious artworks have been accumulated for over twenty years, and are showcased here for the first time. A wooden board used to scraping paintings and pallettes takes on new significance with Sisyphus. Consisting of leftover paint and attempts accumulated over the years, this temporal mass explores the question of "making" and perhaps also, "why make?" The piece explores the essence of art as an obstinate act of creation and a manifestation of the human need to understand the world. The series Sentimental Paintings, initiated during the pandemic, explores the accumulation of syntactic elements of painting, combining abstraction, figuration, and words. Old advertising images from the postwar period serve as source material, reflecting the optimism and carefree attitude of that era, simultaneously touching and kitschy with happiness and lightness. Other figurative elements can be added, contradicting or emphasizing the initial representation. Contrasting with contemporary geopolitical realities, the artists introduce positive words, often accompanied by drips, with a certain sense of humor. Tursic & Mille were the recipients of the Fondation Simone et Cino Del Duca prize in 2020 and the Fondation d'Entreprise Ricard Prize in 2009. They were also nominated for the Marcel Duchamp Prize in 2019.

artists & participants

,  Wilfried Mille,  Ida Tursic 
Almine Rech Gallery, New York

39 East 78th Street
NY 10075 New York

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posted 18. Feb 2024

Simon Denny - Optimism 2023

02. Dec 202327. Oct 2024
Simon Denny Optimism 2023 December 2, 2023–October 27, 2024 Auckland Art Gallery Toi o Tāmaki has launched a sculpture commission for Te Ātea | North Atrium by Berlin-based New Zealand artist Simon Denny. The new work titled Optimism is Denny’s largest public commission since he represented New Zealand at the Venice Biennale in 2015. Opening after an extended period of research and development, Optimism continues Denny’s interest in the frontiers of technology—this time with a powerful new installation focusing on future-proofing within the space industry. With particular reference to New Zealand’s possibly little-known role in the space race, Denny references the patents by US-based New Zealand company Rocket Lab who are just one of the space businesses in New Zealand. One astronomer has referred to the presence of the space industry in the South Island as being like Cape Canaveral. The installation consists of two large suspended “megastructures” each measuring over five metres in diameter. The sculptural structures are large scale models of patent diagrams printed in 3D using light resistant filament. The patents for rocket engine parts were filed by American New Zealand company Rocket Lab over the last ten years. Their forms uncannily resemble familiar images of UFOs and space craft alluding to the popular fascination with space, including the technology and companies that might fuel a future in which we inhabit and travel beyond Earth. The sculptures extend on Denny’s interest in the business of patenting and the way in which technology companies use patents to speculate on the needs of the future, sometimes years ahead of manufacture. Optimism asks where future innovation resides—whether in the imagining of individuals, public governance, or in private enterprise and at what cost. The sculptures are integrated with augmented reality (AR) technology that incorporates visuals of space colonies and futuristic living from the 1960s to today composed onto the objects in real time, weaving together imagery extending from Trek culture, to SpaceX, virtual societies, private space programmes, existing terrestrial successionist movements and frontier narratives. Auckland Art Gallery Commissioning Curator, Natasha Conland says “Optimismcombines historic associations between utopian thought and design, as well as questions our ethical impasse regarding how to live and care for the planet”. Simon Denny: Optimism, 2023 is supported by Auckland Contemporary Art Trust (ACAT) and the Contemporary Benefactors of the Auckland Art Gallery. Exhibition details: Optimism When: Saturday December 2, 2023–Sunday October 27, 2024, 10am–5pm daily Admission: Free About Simon Denny Born in 1982, Auckland, Simon Denny lives and works in Berlin. Denny is an artist whose work explores the cultures and values behind some of the new technologies that are changing the world. In recent years, Denny has looked at the exploitation of information in data-economies, using his work to visualise systems of competing political and economic visions, interrelationships of labour, capital, developments in technologies, and impacts on the environment. Denny graduated with a Bachelor of Fine Arts from Elam School of Fine Arts, Auckland, in 2004, and completed his Masters in Fine Arts at Städelschule, Staatliche Hochschule für Bildende Künste, Frankfurt am Main in 2009. Denny was winner of the prestigious Baloise art Prize 2012, has twice been nominated for the Walters Prize, 2012 and 2014, and he represented New Zealand at the 56th Venice Biennale, with Secret Power 2015. He is a University of Auckland young alumnus award recipient, and currently Professor of Time-Based media at the HFBK Hamburg.


Simon Denny 


Natasha Conland 
Auckland Art Gallery, Auckland

TOI O TAMAKI | Corner Kitchener and Wellesley Streets

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posted 17. Feb 2024

Tim Berresheim. Neue alte Welt

17. Feb 202426. May 2024
17. Februar bis 26. Mai 2024 Tim Berresheim. Neue alte Welt Kurator: Alain Bieber, NRW-Forum Am Anfang war das Wort, das Feuer und die Kunst. Mit archaischer Kraft inszeniert der Künstler Tim Berresheim eine Evolution des Menschen und der Kunst. Das NRW-Forum präsentiert über 20 Jahre seines künstlerischen Schaffens. Frühwerk und neue, eigens für die Ausstellung konzipierten Arbeiten werden zu einer Ausstellung kombiniert, die mit allen Sinnen erlebbar wird: Besucher*innen tauchen in spektakuläre Bildwelten und außergewöhnliche Augmented-Reality-Inszenierungen ein. Berresheim ist ein Pionier der computerunterstützten Kunst. Seine Arbeit ist ein Zusammenspiel aus Kunstgeschichte, Technologie, Wissenschaft und Natur. Monumentale Wandarbeiten ergänzt durch Gemälde, Zeichnungen, Skulpturen und Alltagsgegenstände zeugen vom der beeindruckenden Produktivität des Künstlers und werden durch Replikate von naturkundlichen Artefakten, wie zum Beispiel ersten Musikinstrumenten, Kleinskulpturen oder Ritualgegenständen, erweitert. Vor und im NRW-Forum lädt ein Augmented-Reality-Avatar von Berresheim und seinen berühmten Kunstfiguren, den Aspettatori, die Besuchenden zu einem Spiel ein, in dem sie selbst zu Jägern und Sammlern werden.


Alain Bieber 
NRW-Forum, Düsseldorf

NRW-FORUM | Ehrenhof 2
40479 Dusseldorf

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posted 16. Feb 2024

Günter Brus

17. Feb 202420. May 2024
opening: 16. Feb 2024 01:00 am
Bregenz, am 11. Februar 2024 – Der österreichische Aktionismuskünstler Günter Brus ist am 10. Februar 2024 in Graz verstorben. Im Kunsthaus Bregenz sind die Aufbauarbeiten für seine große Ausstellung mit fast 500 Arbeiten aus allen Schaffensphasen – die letzte an der Brus aktiv mitgearbeitet hat – im vollen Gange. „Günter Brus“ wird wie vorgesehen am 16. Februar um 19 Uhr eröffnet und bis zum 20. Mai zu sehen sein. 17. 02 – 20. 05. 2024 Eröffnung: 16. Februar um 19 Uhr **Günter Brus ** Ein Mann steigt aus einem Citroën 2CV. Er ist in Weiß gekleidet und vollständig mit weißer Dispersion bedeckt. Über seine Körpermitte verläuft eine schwarze Linie, die am rechten Fuß beginnt, sich über das Sakko des Mannes, Hals, Mund, Nase und Scheitel zieht, und auf der Körperrückseite an der linken Ferse endet. Der Mann ist ein lebendes Bild, eine wandelnde Skulptur. Die schwarze Linie befleckt den Körper, teilt ihn und hält ihn zugleich wie eine Naht zusammen. Günter Brus beginnt seinen Wiener Spaziergang am 6. Juli 1965 auf dem Heldenplatz als bewegliches Mahnmal – als ein Untoter, der mit diesem Auftritt gegen das autoritäre Klima der Zeit protestiert. Schon nach kurzer Zeit wird er festgenommen und wegen Störung der öffentlichen Ordnung mit einer Geldstrafe belegt. Die Festnahme spiegelt die konservative Grundstimmung Nachkriegsösterreichs. Es kommt zu weiteren Aktionen, Selbstbemalung I + II, sowie zu den noch radikaleren Selbstverstümmelungen. Brus erprobt die Kunst am eigenen Körper, seine in einem öffentlichen Akt vollzogenen Bewegungen und Gesten führen zur Entgrenzung der Malerei. Die Überschreitung von Schmerzgrenzen löst ein Gefühl der Beklemmung aus und verleiht dem Geschehen eine drastische Ernsthaftigkeit. Brus wird zum Pionier der Body Art und Vorreiter der performativen Kunst. Bereits 1964 bemalt er sich im Zuge seiner ersten Performance Ana, einer mehrteiligen und mehrstündigen Aktion, erstmals weiß. Mit der rechten Hand führt er einen Pinsel mit schwarzer Farbe über seinen kahl geschorenen Kopf. Die Augen sind geschlossen, ebenso der Mund. Brus steht vor einer weißen Leinwand. Bild und Malakt, Motiv und Maler werden eins, zugleich findet eine gespenstische Entfremdung und Zerteilung statt. Die Spaltung ist das Kennzeichen einer Kunst, die in der Vereinsamung das Symptom der Beschädigung des gesellschaftlichen Lebens erkennt. „Selbstbemalung“, notiert Brus 1965, „ist eine Weiterentwicklung der Malerei. Die Bildfläche hat ihre Funktion als alleiniger Ausdrucksträger verloren. (...) Durch die Einbeziehung meines Körpers als Ausdrucksträger entsteht als Ergebnis ein Geschehen, dessen Ablauf die Kamera festhält und der Zuschauer miterleben kann.“ Das Kunsthaus Bregenz präsentiert mit Günter Brus erstmals das Œuvre eines Wiener Aktionisten. Den Schwerpunkt bilden die fotografischen Aufzeichnungen seiner epochalen Aktionen und Performances sowie die informellen Malereien. Diese oft großformatigen Arbeiten zeichnen sich durch fahrige, wild gewordene Gesten aus. Die Malerei wird als aggressiver Akt wahrnehmbar, sie zeugt von Enthemmung, zuckender Zerrissenheit und einem Todestrieb, der an die Oberfläche drängt. Günter Brus (\*1938, Ardning) gilt gemeinsam mit Otto Muehl, Hermann Nitsch und Rudolf Schwarzkogler als Mitbegründer des Wiener Aktionismus und Pionier der Body Art. Der österreichische Maler, Grafiker und Aktionskünstler zählt zu den bedeutendsten lebenden Künstler\*innen Österreichs. Als Schriftsteller bezog er die Literatur in vollkommen neuer Weise in sein bildnerisches und zeichnerisches Schaffen ein. Günter Brus´ Werk wurde in namhaften Institutionen präsentiert, unter anderem in der Slought Foundation, Philadelphia, 2006, im MACBA, Barcelona, 2005/2006, in der Albertina, Wien, 2003/2004, und im Centre Pompidou, Paris, 1993/1994. Günter Brus war Teilnehmer derdocumenta 7, 1982, der documenta 6, 1977, und der documenta 5, 1972, in Kassel. 2011 wurde mit dem BRUSEUM ein eigenes Brus-Museum innerhalb der Neuen Galerie in Graz eröffnet.


Günter Brus 
Kunsthaus Bregenz '

Karl Tizian Platz
A-6900 Bregenz

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posted 15. Feb 2024

Chiara Camoni

15. Feb 202421. Jul 2024
15 February - 21 July 2024 **Chiara Camoni** Curated by Lucia Aspesi and Fiammetta Griccioli Chiara Camoni (Piacenza, 1974; lives and works in Seravezza, Italy) is one of the foremost Italian artists of her generation. Her practice ranges from drawing to vegetable prints, from video to sculpture, with a particular focus on ceramics. Her work is characterized by the use of objects belonging to the domestic world or organic materials that the artist integrates into her production. Herbs, berries and flowers, as well as various types of clay and ashes determine the distinctive natural tones of her works, and recall the earth and vegetation that the artist collects and incorporates into her sculptures. The works are then manipulated and reassembled by Chiara Camoni through ritual gestures with strong connections to ancestral and archaic worlds, aiming to explore the relationship between craftsmanship and the spiritual sphere. The collective and shared dimension is also relevant to her practice, as the artist often collaborates with friends and relatives or organizes workshops and seminars to realize her projects. The exhibition at Pirelli HangarBicocca brings together the largest body of works ever presented by Chiara Camoni and, together with a series of new productions, gives life to an architecture of collectivity and memory, whose forms are inspired by the Italian gardens of the late Renaissance and the ancient amphitheaters. The symmetrical and radial design of the floor plan creates corridors and rooms, paths and environments that divide the space into areas where visitors can linger or converse. This large installation houses numerous other works by the artist, including a great selection of polychrome and glazed terracotta sculptures, such as the anthropomorphic figures from the Sisters series (2017-23) and the “Butterfly Vases” (2020-22), a reinterpretation of Egyptian canopic jars. Alongside sculptural islands, such as the ceramic floor tiles Pavimento (For Clarice) (2021) and the curtains made of vegetal prints of Untitled (a Tent) (2019), visitors will find new figurative works in onyx, leccese stone, and aluminum that draw on the vocabulary of medieval bestiaries. The exhibition will be complemented by a monographic catalog, which will include an in-depth documentation of the exhibition and critical texts commissioned from art historians, sociologists and archaeologists. Some of the concepts and themes of the exhibition will be explored through specific essays and contributions by authors such as Anna Anguissola, Domitilla Dardi, Gian Antonio Gilli, Chus Martínez, Alice Motard, and Andrea Viliani. Several international institutions have hosted solo exhibitions of Chiara Camoni, including A Tale of a Tub, Rotterdam (2023); Galleria d’Arte Moderna, GAM, Galleria Civica d’Arte Moderna e Contemporanea, Turin (2022); CAPC, musée d’art contemporain de Bordeaux, Centre européen d’action artistiques contemporaines CEAAC, Strasbourg (2021); Mostyn Centre for Contemporary Art, Llandudno, Galles, Middlesborough Insititute of Modern Art, United Kingdom (2019); Nomas Foundation, Rome (2015). Her works have also been exhibited in numerous exhibitions and group shows such as Biennale, Borger-Odoorn, Netherlands (2023); Biennale Gherdëina, Val Gardena, Museum of Modern and Contemporary Art, MAMAC, Nice (2022); CENTRALE, Brussels, Nottingham Contemporary, Galleria Nazionale di Arte Moderna, Rome (2021); Quadriennale di Roma, Palazzo delle Esposizioni, Rome, Centrale Fies, Trento, Maison des Arts Georges & Claude Pompidou, France (2020); Magazin des Horizons, Grenoble, GNAM, Galleria Nazionale d’Arte Moderna e Contemporanea, Rome (2019); Gallerie d’Italia, Milan, Museo Novecento, Florence (2018); Museo Internazionale delle Ceramiche, Faenza, ar/ge Kunst, Bolzano (2017); CAC-Contemporary Art Centre, Vilnius, Triennale di Milano, MACRO Museo di arte Contemporanea, Rome (2016); Museo Villa Croce, Genova (2015).


Chiara Camoni 
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posted 14. Feb 2024

Amna Walayat: Fallen

25. Nov 202323. Mar 2024
25th Nov 2023 - 23rd Mar **Amna Walayat: Fallen** Amna Walayat is a Cork City–based, Pakistani-born artist whose practice expresses her hybrid cultural experiences. She reflects on issues of diaspora, gender, trauma, and sexuality, and on how values, norms, and beliefs are inflected by the female condition. This exhibition features an eclectic mix of Walayat’s works. It is her first solo show in an Irish venue and her largest presentation to date. Walayat employs techniques of both traditional and neo-Indo-Persian miniature painting. This medium has storytelling attributes and a relationship to symbolism and mysticism. The artist also often uses the female figure, including her own representation, to adopt multiple alternative personas. Through this deployment of identities, Walayat addresses colonial, patriarchal, and religious structures that exert control over women’s bodies and minds. Fallen is curated by Miguel Amado, Director, SIRIUS with Sarah Long, Critic in Residence, SIRIUS.


Amna Walayat 


Miguel AmadoSarah Long 
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posted 13. Feb 2024

Sarah Maldoror: Tricontinental Cinema

03. Feb 202428. Apr 2024
February 3–April 28, 2024 **Sarah Maldoror: Tricontinental Cinema** From February 3–April 28, the Wexner Center for the Arts at The Ohio State University will present the US premiere of Sarah Maldoror: Tricontinental Cinema. Known as the “mother of African cinema,” Sarah Maldoror (1929–2020) completed nearly four dozen shorts, features, and documentaries in her lifetime. Her 1972 feature Sambizanga was recently restored with support from Martin Scorsese’s The Film Foundation. Tricontinental Cinema is the first large-scale museum exhibition to reveal Maldoror’s groundbreaking work as a filmmaker, but also as a global activist and a champion of Black women’s rights. This immersive multimedia show, which expands on an original presentation at Palais de Tokyo, Paris, provides an overdue opportunity to celebrate Maldoror’s antiracist, unapologetically irreverent work in film and her involvement with theater, poetry, and politics. The center’s spring 2024 calendar includes a wealth of related programs that reflect the remarkable scope of her influence, beginning with a February 2 Exhibition Opening Celebration. These incorporate all disciplines presented at the Wex. Featuring projections from over a dozen films, Tricontinental Cinema traces the path of Maldoror’s life from her formation as an artist in 1950s Paris through her travels to Guinea-Bissau and Angola, and far beyond. It places her films in dialogue with works by artists who were her contemporaries, including a sculptural installation by Melvin Edwards and paintings by Wifredo Lam. Tricontinental Cinema also highlights Maldoror’s collaborations with cultural and political figures around the world. These include Aimé Césaire, Jean Genet, Chris Marker, and the legendary jazz group Art Ensemble of Chicago, who will perform at the Wex February 3 as part of the exhibition’s opening weekend celebrations. At the same time, the exhibition prompts a new conversation between the late artist and contemporary artists whose work embodies the same spirit of activism. Contributors include Chloé Quenum, and Soñ Gweha (formerly known as Anna Tje). And Tricontinental Cinema celebrates the efforts of artists such as Mathieu Kleyebe Abonnenc to promote awareness of Maldoror’s work in the field of contemporary art. One gallery will bring together towering, fiber-based sculptural work by Kapwani Kiwanga—who is also at work on the Canada Pavilion installation for the 2024 Venice Biennale, curated by Wex Executive Director Gaëtane Verna—and a series of large-scale paintings on raw canvas by Ana Mercedes Hoyos. For this presentation of Tricontinental Cinema, Maya Mihindou will create a new, vibrant series of murals that is designed to connect the center’s galleries and lead visitors through the story of Maldoror’s life and legacy. Sarah Maldoror: Tricontinental Cinema is organized by Palais de Tokyo, Paris, and the Wexner Center for the Arts. The exhibition is curated by Palais de Tokyo Curator François Piron and CAPC Musée d’art Contemporain de Bordeaux Chief Curator Cédric Fauq, and was originally presented at Palais de Tokyo November 26, 2021–March 13, 2022. The Wexner Center presentation of the exhibition is organized by Associate Curator of Exhibitions Daniel Marcus with Head of Exhibitions Kelly Kivland. Artists Mathieu Kleyebe Abonnenc, André Acquart, Melvin Edwards, Soñ Gweha, Ana Mercedes Hoyos, Kapwani Kiwanga, Wifredo Lam, Sarah Maldoror, Chris Marker, Maya Mihindou, Chloé Quenum, Maud Sulter
Wexner Center for the Arts, Columbus

1871 North High Street
OH 43201 Columbus

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posted 12. Feb 2024

André Thomkins «1930 – 1985»

18. Jan 202409. Mar 2024
18. Januar 2024 – 09. März 2024 **André Thomkins «1930 – 1985»** André Thomkins (1930-1985), geboren in Luzern, Schweiz, gehört zu den bedeutendsten Schweizer Künstlern der zweiten Hälfte des 20. Jahrhunderts. Ausgehend vom Surrealismus und der Dada-Bewegung sowie den Werken und Ideen von Paul Klee und Kandinsky und seinen Kenntnissen der Parapsychologie, der Philosophie und der Literatur umfasst Thomkins‘ Zeichnungen, Skulpturen und Musik. Auf der Suche nach adäquaten Ausdrucksformen für seine grenzenlose Phantasie und Experimentierfreudigkeit erfand er eigene Maltechniken, darunter die so genannten Lackskins. „Ein Tropfen oder Strang dicker Glanzfarbe rieselt auf das Wasser, breitet sich aus und bedeckt die Oberfläche. Die dabei entstehenden Formen lassen sich ständig verändern, mit Mitteln, deren Wirkung ein Wechselspiel zwischen künstlichen und natürlichen Kräften auslöst: Wenn man auf die Farbe pustet, treibt sie in die gewünschte Richtung auseinander und löst sich in graue Schuppen von fotografischer Feinheit auf, die eine plastische Präsenz suggerieren. Mit Farbtropfen oder -fäden, die man auf das entstehende Bild wirft oder zieht, kann man dann die Landschaft verändern.“ (André Thomkins, 1966).
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posted 11. Feb 2024


14. Sep 202328. Jul 2024
Berlin: 14. SEPTEMBER 2023 – 28. JULI 2024 **UNBOUND: PERFORMANCE AS RUPTURE** Die Gruppenausstellung UNBOUND: PERFORMANCE AS RUPTURE widmet sich der Frage, wie sich Künstler*innen zu unterschiedlichen Zeiten mit dem Körper in Bezug auf die Kamera auseinandergesetzt und dabei Ideologien der Unterdrückung zurückgewiesen, historische Narrative durchbrochen oder Vorstellungen von Identität erschüttert haben. Die Ausstellung, die Arbeiten aus der Julia Stoschek Collection mit Leihgaben in Dialog bringt, zeichnet verschiedene Schnittstellen von Performance und Videokunst seit den 1960er-Jahren und bis in die Gegenwart nach und legt dabei ein besonderes Augenmerk auf Formen des Risses, des Bruchs und der Pause. Im Gegensatz zu Peggy Phelans Definition von Performance als einer Live-Kunstform, die von ihrem sofortigen Verschwinden charakterisiert ist, stellt UNBOUND die Verwendung der Kamera und des dazugehörigen Apparats zum Zweck der Aufnahme und als beeinflussendes Element der Performance selbst in den Mittelpunkt. Die gezeigten Künstler*innen hinterfragen mithilfe einer bewusst herbeigeführten Verschmelzung der Präsenz der Performance mit der Virtualität des Bildes ein grundlegendes Paradox – eine Repräsentationskluft, wenn man so will, die sich zwischen dem performenden Subjekt, dessen komplexe Identität nie voll dargestellt werden kann, und der Kamera als einem gewaltvollen Werkzeug auftut, das versucht, die Dargestellten einzufangen, einzuhegen und zu klassifizieren. Viele der präsentierten Arbeiten zeigen und verhandeln dabei einen von der Kamera fortgeschriebenen kolonialen Blick und setzen zugleich doch auf genau jene zeitbasierte Technologie, um Verbindungen über Raum und Zeit hinweg zu etablieren, die ohne sie unmöglich wären. Neben Performancedokumentationen und Performances für die Kamera beschäftigen sich jüngere Arbeiten in der Ausstellung mit zeitgenössischen Bildökonomien und richten den Blick unter anderem darauf, wie Körper sich durch physische und digitale Räume bewegen. Mitte des 20. Jahrhunderts führte die aufkommende Performancekunst dank ihrer Verwischung der Grenzen von Kunstobjekt, Künstler*in und Aktion einen Bruch ins westliche Kunstverständnis ein. Die damit einhergehende Befreiung der Kunst durch den Körper (und umgekehrt) findet sich als gemeinsamer Antrieb hinter den unterschiedlichen Ansätzen der ausgestellten Werke. Etwa zur gleichen Zeit prägte die junge Videotechnologie einen entscheidenden Wandel in der Art und Weise, wie wir Bewegung aufzeichnen, bearbeiten, abspielen und präsentieren – ein Wandel, der die frühen Video-Experimente mit unserer heutigen Nutzung in sozialen Medien und darüber hinaus verbindet. Unter Berücksichtigung der entsprechenden Geschichten entwickelt sich ein Dialog zwischen historischen Arbeiten von Eleanor Antin, peter campus, VALIE EXPORT, Sanja Iveković, Ulysses Jenkins, Joan Jonas, Lutz Mommartz, Senga Nengudi, Howardena Pindell, Pope.L und Katharina Sieverding und Werken einer jüngeren Generation von Künstler*innen, darunter Panteha Abareshi, Ufuoma Essi, Shuruq Harb, Tarek Lakhrissi, mandla & Graham Clayton-Chance, Lydia Ourahmane, Sondra Perry, Akeem Smith und P.Staff. Zu UNBOUND: PERFORMANCE AS RUPTURE erscheint eine Publikation mit einer allgemeinen Einführung sowie Kurztexten, in denen die einzelnen Kunstwerke in Beziehung zu den Themen der Ausstellung gesetzt werden (bei Besuch der Ausstellung kostenlos). Darüber hinaus werden ein öffentliches Gesprächs- und Screening-Programm sowie ein Podcast die Ideen der Ausstellung weiter beleuchten und ergänzen. Bitte beachten Sie, dass die Ausstellung für Kinder unter 16 Jahren nicht geeignet ist. Kuratorin: Lisa Long Assistenzkuratorin: Line Ajan KÜNSTLERINNENLISTE Panteha Abareshi, Eleanor Antin, Salim Bayri, Nao Bustamante, Matt Calderwood, Peter Campus, Patty Chang, Julien Creuzet, Vaginal Davis, Ufuoma Essi, VALIE EXPORT, Cao Guimarães, Shuruq Harb, Sanja Iveković, Ulysses Jenkins, Joan Jonas, Stanya Kahn, Verena Kyselka, Tarek Lakhrissi, Klara Lidén, mandla, Graham Clayton-Chance, Lutz Mommartz, Senga Nengudi, Mame-Diarra Niang, Lydia Ourahmane, Christelle Oyiri, P. Staff, Manfred Pernice, Sondra Perry, Howardena Pindell, Pope.L, Pipilotti Rist, Katharina Sieverding, Akeem Smith, Gwenn Thomas


Line AjanLisa Long 

10117 Berlin

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posted 10. Feb 2024

Lucy Raven

10. Feb 202421. Apr 2024
10.02.2024 – 21.04.2024 Eröffnung: Freitag, 9. Februar 2024, 19 Uhr Lucy Raven Eine Sonderausstellung der Nationalgalerie – Staatliche Museen zu Berlin Die Neue Nationalgalerie zeigt Lucy Raven’s Videoinstallation „Ready Mix“ (2021), die Arbeit, Technologie und verborgene Mecha- nismen von Macht thematisiert. Die raumgreifende Installation in der oberen Halle des Museums befindet sich in direkter Sichtweite zur Baugrube des „berlin modern“ und stellt visuell und thematisch ei- nen Bezug zur monumentalen Baustelle des Museumsneubaus her. Die Ausstellung eröffnet deshalb anlässlich der und am Tag der Grundsteinlegung des von Herzog de Meuron gestalteten Gebäudes. Die 1977 in Arizona geborene Lucy Raven beschäftigt sich häufig mit der Entwicklung und Darstellung des US-amerikanischen Westens und des- sen heutiger Rolle in Bezug auf globalen Handel, Kommunikation und Entwicklung. Dabei setzt sie sich auch mit den Künstler*innen der Land- Art auseinander. Ravens Film „Ready Mix“ (2021, 45 Min.) demonstriert die Eigenschaften von Geschwindigkeit, Druck und Materialität (sowohl geologisch als auch synthetisch) am Beispiel der Produktion von Beton. Über zwei Jahre drehte Raven in einem Betonwerk in Bellevue, Idaho. „Ready Mix“ vermittelt unterschiedliche Perspektiven und kurze Erzählun- gen sowohl mit Drohnenaufnahmen des ausgehobenen Bodens als auch mit Aufnahmen von Bewegungen aus dem Inneren der aktiven Maschine- rie. In einer Einstellung stürzt etwa eine Steinlawine auf ein Förderband, ohne dass die Kamera die Bewegung vollständig erfassen kann. Die fes- ten Mineralien erscheinen so im Strom des silbernen Lichts fast flüssig. Im Gegensatz dazu stehen die Aufnahmen der Betonblöcke, die sorgfältig montiert und zu einer klar angeordneten Wand gestapelt werden. Auf einer durch die Glashalle von Mies van der Rohe verlaufenden vier- zehn Meter langen und sechs Meter hohen Wand werden die Einstellun- gen des Films in nahtloser Bildfolge gezeigt. Der Film steht dem Western als Filmgenre kritisch gegenüber und ist formal, aber nicht thematisch einzigartig in Ravens Werk. „Ready Mix“ nimmt die stereotype Wahrneh- mung von Landschaften auseinander und reflektiert die Topografie, wie sie tatsächlich ist. Kuratiert von Klaus Biesenbach, Direktor der Neuen Nationalgalerie und Lisa Botti, Co-Kuratorin. Die Ausstellung wird ermöglicht durch die Freunde der Nationalgalerie und Museum&Location.


Lucy Raven 
Neue Nationalgalerie, Berlin

Kulturforum Berlin-Tiergarten / Potsdamer Straße 50
10785 Berlin

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posted 09. Feb 2024


09. Feb 202414. Jul 2024
9 February – 14 July 2024 **CHAÏM SOUTINE – AGAINST THE CURRENT** In the spring of 2024, Louisiana Museum of Modern Art presents a major exhibition by the painter Chaïm Soutine (1893–1943), who so masterfully captured the time around and between the two world wars. Soutine is considered one of the leading expressionists of the Paris School, and it seems clear that the exhibition in Humlebæk – the first of its kind in Northern Europe – will bring him to a newer, broader public. The coming presentation of Chaïm Soutine’s work at Louisiana has an aura of discovery about it. In spite of figuring as a key artist of classical modernism, Soutine has not previously been the object of wide-ranging attention on our shores. As a painter, Soutine followed his own path. While many of his contemporaries were preoccupied with avant-garde Cubism, Dadaism and Fauvism, Soutine remained relatively unimpressed by these offshoots of Modernism. Instead, he cultivated the characteristic, highly intense style and expressive idiom that make his paintings so distinctive. Soutine painted figures, still lifes and landscapes and is known for his distorted subject matter, blazing colours and restive, forceful line. His paintings explode with colour, at once fierce and beautiful, with intensely tremorous, unsettling and ragged imagery. The artistically innovative potency of Soutine’s work had an influence deep into the twentieth century and was a major source of inspiration for artists such as Francis Bacon, Willem de Kooning and Georg Baselitz, all of whom are represented in Louisiana’s collection. Soutine’s name often comes up when contemporary artists are asked to point out their artistic exemplars. The exhibition encompasses no fewer than 64 paintings from across the artist’s career and presents a differentiated overview of all facets of his painterly production: sensitive portraits of humble folk; wondrous, wavering landscapes beaming with colour; and enigmatic still lifes of slaughtered beasts. The generous loans for the exhibition come from Musée de l’Orangerie (Paris), Centre Pompidou (Paris), Kunstmuseum Basel, The Israel Museum (Jerusalem), MoMA (New York), Tate (London) and National Gallery of Art (Washington), among others. The exhibition is a collaboration between Kunstsammlung Nordrhein-Westfalen in Düsseldorf, Louisiana Museum of Modern Art, and Kunstmuseum Bern. The exhibition is supported by the Aage & Johanne Louis-Hansen Foundation Fritz Hansen is Louisiana’s Main Corporate Partner -------------------------------------------------------------------------------- Catalogue: The exhibition will be accompanied by a richly illustrated catalogue in German and English published by the renowned Hatje Cantz publishing house in Germany. In Danish, Louisiana Revy will be published. * About Chaïm Soutine Chaïm Soutine grew up in extreme poverty in a Jewish Orthodox family in what is now Belarus. He knew at an early age that he wanted to be an artist and, despite his parents’ misgivings, was allowed to take drawing classes in Minsk. It was here as a youth that he painted a portrait of a man which ran contrary to the orthodox canon, with the result that Soutine was attacked and beaten by the man’s sons. His parents managed to claim compensation for the assault, and with this money Soutine was able to travel to Vilnius and enrol in the city’s art school. In 1913, he travelled to Paris, then the epicentre of the European avant-garde and a meeting point for many voluntarily and involuntarily exiled artists – especially those from Eastern Europe. Although the metropolis was his second home, he remained an outsider throughout his life. Many of his early years in Paris were marked by hunger and deprivation. It was not until 1922–1923, when the American collector Albert C. Barnes acquired no less than 52 of his works, that Soutine achieved a sudden and unexpected form of recognition. This brought about an improvement in Soutine’s financial standing but did little to change his restless and reserved nature – he moved between lodgings constantly, formed few close relationships, spoke poor French, and was described as eccentric. In general we know very little about him as a person. He left behind only a few drawings and sketches and no notes; he did not keep a diary, and wrote only a handful of cards and letters. Being both stateless and Jewish, when the Germans invaded and occupied Paris in 1940 his life became precarious in the extreme. In his final years Soutine lived more or less in hiding or on the run. When he finally ventured back to Paris in 1943 to undergo surgery for a bleeding ulcer, it was too late.


Chaim Soutine 
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posted 08. Feb 2024

Kunstpreis junger westen 2023 Skulptur, Plastik und Installation

03. Dec 202311. Feb 2024
3. Dezember 2023 – 11. Februar 2024 **Kunstpreis junger westen 2023 Skulptur, Plastik und Installation** Der Kunstpreis junger westen ist die älteste kommunale Auszeichnung für wegweisende Kunst nach 1945 in Deutschland. 1948 von der Stadt Recklinghausen gestiftet, wird er seit 1956 alle zwei Jahre in wechselnden Kategorien öffentlich ausgeschrieben. Die Jury 2023 ernannte Mona Schulzek zur Preisträgerin und wählte zudem aus 532 Bewerbungen 22 Künstlerinnen für die Ausstellung aus: Eliza Ballesteros, Noémi Barbaglia, Rebekka Benzenberg, Marta Dyachenko, Fabian Friese, Gerrit Frohne-Brinkmann, Isabella Fürnkäs, marc norbert hörler, Lucia Kempkes, Ju Young Kim, Maria Clara Kulemeyer, Julia Miorin, Esper Postma, Moritz Riesenbeck, Miriam Schmitz, Tatjana Stürmer, caner teker, Tatjana Vall, Emil Walde, Denise Werth, Karla Zipfel. Alle eingereichten Arbeiten stehen exemplarisch für künstlerische Praxen, die zeitgenössische Impulse geben für das, was über gängige bildhauerische Kategorien hinaus geht. Der junge westen 2023 zeigt neue Wege für Raum bezogene Kunst auf, ob ästhetisch, sozial oder politisch. Wie bereits 2021 erhält die Preisträgerin das gesamte Obergeschoss der Kunsthalle als Ort für die Einzelpräsentation. Für die Jury zeigt sich in Mona Schulzeks Werk exemplarisch, was eine bildhauerische Praxis in den Kategorien ‚Plastik, Skulptur, Installation‘ heute leisten kann: zeitgenössische Impulse zu geben für das, was wir als Raum zu begreifen versuchen. Ihre Werke berühren dabei dem Kunstsystem immanente Diskurse, reichen aber darüber in verschiedene Bereiche des Lebens hinaus. In ihren Installationen bedient sie sich verschiedener Medien und Disziplinen, wie der Fotografie oder der Naturwissenschaften. Beispielhaft ist dies in ihrem ‚Outer Space Transmitter‘ seit 2021 zu sehen. Schulzek arbeitet darin mit einem uns umgebenden Raum, der sowohl tatsächlich existiert als auch das Imaginäre anspricht: dem Weltall. Ihre Kunst ist dabei allumfassend, von der Konstruktion eines Senders als skulpturales Objekt, über die Entwicklung eines ‚extraterrestrischen Alphabets‘, bis hin zur Erlangung des zertifizierten Funkscheins. Sie ist damit bemerkenswert konsequent in ihrer bildhauerischen und konzeptuellen Praxis, so die Jury. Mona Schulzek schloss 2023 ihr Studium an der Kunstakademie Düsseldorf als Meisterschülerin von Gregor Schneider ab. Bereits 2022 wurde sie für ihren Outer Space Transmitter ausgezeichnet und erhielt 2019 das Max Ernst Stipendium. Ihre Arbeiten sind in der Sammlung des Kunstmuseum Bochum und des Max Ernst Museum Brühl vertreten. Einzelausstellungen konnte sie bereits im In- und Ausland realisieren, darunter u.a. Frankreich, Österreich und Spanien. Der Jury gehörten in diesem Jahr an: Prof.in Dr. Martina Dobbe (Professorin für Kunstgeschichte der Moderne und der Gegenwart, Kunstakademie Düsseldorf), Dr. Stefanie Kreuzer (Ausstellungsleiterin und Kuratorin für Gegenwartskunst, Sammlung der Moderne, Kunstmuseum Bonn ab Oktober 2023 Direktorin des Kunstmuseum Mülheim an der Ruhr), Max Leiß (Bildhauer, Kunstpreisträger „junger westen“ 2017), Dr. Sandra Beate Reimann (Kuratorin Museum Tinguely Basel), Christoph Tesche (Bürgermeister der Stadt Recklinghausen), Holger Freitag (Vorsitzender des Ausschusses für Kultur, Wissenschaft und Stadtgeschichte der Stadt Recklinghausen), Dr. des. Nico Anklam (Direktor der Museen der Stadt Recklinghausen) und als Vertretung Kerstin Weber (Wiss. Mitarbeiterin, Kunsthalle Recklinghausen). Der Kunstpreis junger westen wird als Förderpreis der Stadt Recklinghausen mit Unterstützung der Kulturstiftung der Stadtsparkasse Recklinghausen vergeben. Durch zusätzliche Förderung des Rotary Club Recklinghausen und der Ulrike und Bernd Tönjes Stiftung, konnte das Preisgeld in diesem Jahr erstmals von 10.000 auf 20.000 EUR erhöht werden. Diese Aufstockung bleibt für die nächsten Wettbewerbe bis 2031 bestehen. Zur Ausstellung erscheint ein Katalog. Zur Eröffnung der Ausstellung am Samstag, 2. Dezember um 17 Uhr laden wir herzlich in die Kunsthalle Recklinghausen ein. Öffentliche Führungen sonntags um 12 Uhr Neujahrsführung mit Dr. des. Nico Anklam am 1. Januar um 12 Uhr
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posted 07. Feb 2024

Tania Bruguera. Where Your Ideas Become Civic Actions

07. Feb 202411. Feb 2024
opening: 07. Feb 2024 07:00 pm
7. Februar 2024, 19 Uhr – 11. Februar 2024, 23 Uhr Auftakt: Mittwoch, 7. Februar 2024, 19 Uhr Tania Bruguera. Where Your Ideas Become Civic Actions (100 Hours Reading “The Origins of Totalitarianism”) Eine Präsentation der Nationalgalerie – Staatliche Museen zu Berlin Die Künstlerin und Aktivistin Tania Bruguera zeigt ihre Performance „Where Your Ideas Become Civic Actions (100 Hours Reading The Origins of Totalitarianism)”, eine 100-stündige Lesung von Hannah Arendts „Elemente und Ursprünge totaler Herrschaft“ im Hamburger Bahnhof – Nationalgalerie der Gegenwart. Künstler*innen, Theoreti- ker*innen und Aktivist*innen lesen in der Historischen Halle des Museums ununterbrochen, Tag und Nacht, vom 7. Februar 2024, 19 Uhr, bis Sonntag, 7. Februar 2024, 23 Uhr, das Hauptwerk der politi- schen Theoretikerin. Brugueras erste Aufführung der Performance im Mai 2015 in Kuba führte zu ihrer Inhaftierung durch die kubani- schen Behörden. Der Hamburger Bahnhof zeigt die europäische Erstaufführung. Über die gesamte Dauer von 100 Stunden ist die Historische Halle des Hamburger Bahnhof ununterbrochen fü r die Besucher*innen geöffnet. Die kubanische Künstlerin Tania Bruguera (geboren 1968) liest aus Hannah Arendts (1906-1975) Buch „Elemente und Ursprünge totaler Herrschaft“ (Orig. „The Origins of Totalitarianism“, 1951). Bruguera lä dt weitere Personen ein, die sich aus unterschiedlichen Perspektiven mit Arendt und ihrem Werk, mit politischem Denken und Machtverhältnissen, Freiheit und Demokratie, Autoritarismus und Populismus auseinanderset- zen. Sie wechseln sich im Lesen mit Bruguera ab und diskutieren das Werk mit ihr und dem Publikum. Vier Tage und Nä chte verweilt das Publikum im Museum im Austausch mit Bruguera und den Vorlesenden zu zentralen Themen unseres Zusammenlebens. 2021 gründete Bruguera mit einer Gruppe von kubanischen Künst- ler*innen und Aktivist*innen das INSTAR – Instituto de Artivismo Hannah Arendt, das 2021 mit dem Arnold-Bode-Preis der Stadt Kassel ausge- zeichnet wurde und an der documenta fifteen teilnahm. Kuratiert von Alice Koegel, Kuratorin, Hamburger Bahnhof – Nationalgale- rie der Gegenwart. Die Ausstellung wird ermöglicht durch die Peter und Irene Ludwig Stif- tung.


Alice Koegel 
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posted 06. Feb 2024

Javier Telléz - Calligari und der Schlafwandler

07. Oct 202303. Mar 2024
October 07, 2023 – March 03, 2024 S.M.A.K & Film Festival Gent, Belgium Javier Telléz Calligari und der Schlafwandler S.M.A.K. and Film Fest Gent are joining forces on the occasion of the 50th festival edition and together they are presenting several projects. The museum will show 'Caligari und der Schlafwandler', a film work from the permanent collection directed by Venezuelan artist Javier Téllez. As the title suggests, Javier Téllez’s Caligari und der Schlafwandler (Caligari and the Sleepwalker) was inspired by Robert Wiene’s classic silent film Das Kabinet des Dr Caligari (1920). In this masterpiece of German expressionist cinema, a hypnotist (Dr Caligari) turns a man (Cesare) into a murderous sleepwalker. Téllez’s version is less violent. His Dr Caligari has a miraculous and therapeutic conversation with Cesare, an emissary from the planet Slave Star who is also sleepwalker. Their dialogue and scenes are written in chalk on handheld blackboards. As actors, Téllez chose to work with people with a mental vulnerability or impairment. When making a film, Javier Téllez often uses the same methodology. For each new undertaking, he searches for a local psychiatric centre that is open to a collaboration. He then selects films that relate to the main ideas of the project. After a series of intensive casting sessions with the centre’s residents, Téllez will organise a series of group workshops. He screens the relevant films, discusses them, and works with the group on a new script. Téllez eventually films the scenes and involves his cast in the editing process. Caligari und der Schlafwandler is a cinematic collage of staged dialogues and documentary interviews by and with individuals who are usually invisible to society. What are the potential meanings of reality, imagination and perception? What is disturbed, healthy, normal or abnormal? In an intriguing mix of fantasies and facts, the actors and director jointly unfold reality’s numerous possibilities and penetrate our categorical thinking about normality. Javier Téllez (b. 1969, Valencia) is a Venezuelan artist who lives and works in New York. He is regularly invited to show his work in major international museums and institutions. During the past decade he has had solo exhibitions at the University of Rochester’s Memorial Art Gallery (2018); San Francisco Art Institute (2014); Kunsthaus Zurich (2014); and S.M.A.K., Ghent (2013), amongst other venues. He has also exhibited in documenta, Kassel (2012); Manifesta, Trento; the Whitney Biennale, New York; and the Sydney Biennale (2008). He received the Global Mental Health Award for Innovation in the Arts from Columbia University, New York, in 2016.


Javier Tellez 
S.M.A.K. Ghent

S.M.A.K. Stedelijk Museum voor Actuele Kunst | Jan Hoetplein 1
B-9000 Ghent

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posted 05. Feb 2024

Neo Rauch: Field Signs

16. Nov 202324. Feb 2024
November 16, 2023— February 24, 2024 5–6/F, H Queen’s, 80 Queen’s Road Central, Hong Kong **Neo Rauch: Field Signs** David Zwirner is pleased to announce Field Signs, an exhibition of new paintings by German artist Neo Rauch at its Hong Kong location. This presentation follows the artist’s 2021 solo exhibition The Signpost at David Zwirner New York and marks his second solo show at the Hong Kong gallery, after his 2019 exhibition Propaganda. Rauch’s work was recently the subject of the 2023 solo exhibition The Dream of Reason at MoCo Montpellier Contemporain, France, and Neo Rauch: Die Mitte, which was on view at Museum de Fundatie, Zwolle, the Netherlands, in 2022. Widely celebrated as one of the most influential figurative painters working today, Rauch has gained international acclaim for richly colored and elaborate paintings that contain a repertoire of invented characters, settings, objects, and motifs. At once realistic and familiar, enigmatic and inscrutable, his paintings often hint at broader narratives and histories—seemingly reconnecting with the artistic traditions of realism—yet they are dreamlike and frequently contain disparate and overlapping spaces and forms. As writer Thomas Meaney notes, “Rauch is known for … huge, dense, ostensibly narrative scenes in which narrative is stubbornly elusive. Events seem to take place in a parallel world. Portions of a canvas can be futuristic, with space-age infrastructure, while elsewhere there may be a sky out of Tiepolo and people who have come from the Napoleonic Wars or some primordial Europe.” Though his art is highly refined and executed with considerable technical skill, Rauch himself stresses the intuitive, deeply personal nature of how he works. As the artist notes, “My process is far less a reflection than it is drawing from the sediments of my past, which occurs in an almost trance-like state.”2 The namesake of the exhibition, Feldzeichen (2023), translated as “field signs,” is a large painting that features the titular objects—in particular, examples from ancient Rome—which traditionally serve as emblems for organizing military units and demarcating plots and territories by farmers or soldiers. However, in Rauch’s composition the narrative is more ambiguous: human figures of varying scale and dress engage in perplexing configurations in an interior scene. A woman and a man clad in yellow seemingly argue on the right-hand side of the canvas as a tiny fire burns in the rural landscape behind them. The same iron sign reappears in Sonne (2023), being wielded by a bearded figure who stands under rays of sunlight and among a series of pylons, and again in Trift (2023)—meaning “drift” or alternatively “grazing pasture”—in which the placards are utilized as different kinds of instruments. These retro-futurist objects become motifs in the artist’s paintings, an example of how forms, figures, and even certain stylistic flourishes exist as personal iconography that Rauch frequently draws upon and reincorporates into his work. In Reue (2023), which is translated as “regret” or “remorse,” a man and a woman in the foreground wearing traditional German dress witness the burning of a house of cards in the clearing of a forest, against a flaming red-orange sky. Rauch includes colorful butterflies and moths in Spießer and in Die Nachtfalterin (both 2023), symbols that he has returned to repeatedly since the 2010s. In Spießer their delicate bodies are stacked neatly on top of each other on poles, while in Die Nachtfalterin a large, winged insect is scrutinized by a group of characters that resemble figures painted by French realist artist Gustave Courbet. In Rauch’s words, “I always do my best to understand what the motives for [these symbolic elements’] inclusion in the painting are.… They make a case for the limitless nature of pictorial possibilities—to be honest, I can paint whatever I want; I just have to make sure that it’s right for me.”3 Like other paintings in Field Signs, these highly personal compositions exemplify tensions and ambiguities between the past and Rauch’s experiences of the present day while synthesizing the history of art and representation more broadly. Neo Rauch (b. 1960) was born in Leipzig, where he continues to live and work, and studied at the Hochschule für Grafik und Buchkunst. Rauch has been represented by David Zwirner since his first show with the gallery in New York in 2000. His 2019 solo exhibition Propaganda at the gallery’s Hong Kong location marked the artist’s first solo presentation in China, and Neo Rauch: Rondo was presented in 2016 at the gallery’s London location. Previous solo exhibitions at the gallery in New York include The Signpost (2021), At the Well (2014), Heilstätten (2011), Neo Rauch (2008), Renegaten (2005), Neo Rauch (2002), and the aforementioned Neo Rauch (2000). Rauch's work has been the subject of solo exhibitions at prominent institutions internationally. In 2023, his solo exhibition The Dream of Reason was presented at MoCo Montpellier Contemporain, France. In 2022–2023, Neo Rauch: Wegzehr, an exhibition of his works on paper, was shown at the Drents Museum, Assen, and Neo Rauch: Die Mitte was on view at Museum de Fundatie, Zwolle, both in the Netherlands. Neo Rauch – Works from 2008 to 2019 was on view at the Palazzo Pitti, Florence, in 2019–2020. Neo Rauch: Aus dem Boden was presented in 2018–2019 at Des Moines Art Center, Iowa, and traveled to The Drawing Center, New York. Neo Rauch: Dromos, Painting 1993–2017 was presented at Museum de Fundatie, Zwolle, the Netherlands, in 2018. In 2013, BOZAR – Centre for Fine Arts in Brussels presented a solo show of the artist’s work entitled Neo Rauch: The Obsession of the Demiurge. Selected Works 1993–2012 and in 2010 his first major museum survey was cohosted by the Museum der Bildenden Künste Leipzig and the Pinakothek der Moderne, Munich. A version of this survey was shown at the Zachęta National Gallery of Art, Warsaw, in 2011. Other venues which have presented solo exhibitions include the Kunstsammlungen Chemnitz, Germany (2012); Museum Frieder Burda, Baden-Baden, Germany (2011); Essl Museum, Klosterneuburg, Austria (2011); The Metropolitan Museum of Art, New York (2007); Galerie Rudolfinum, Prague (2007); Musée d’art contemporain de Montréal (2006); Kunstmuseum Wolfsburg, Germany (2006); Centro de Arte Contemporáneo de Málaga, Spain (2005); Albertina, Vienna (2004); and the Bonnefantenmuseum, Maastricht, the Netherlands (2002). In 2012, the Grafikstiftung Neo Rauch opened in Aschersleben, Germany, where the artist was raised. The foundation is dedicated to maintaining and preserving Rauch's entire graphic oeuvre. In celebration of its ten-year anniversary, the Grafikstiftung Neo Rauch opened an exhibition of Rauch’s prints made since 1988, which is on view through April 28, 2024. Institutional collections that hold works by the artist include the Albertina Museum, Vienna; Bonnefantenmuseum, Maastricht, the Netherlands; The Broad, Los Angeles; Carnegie Museum of Art, Pittsburgh; Denver Museum of Art; the Des Moines Art Center, Iowa; Fondation Beyeler, Basel; Gallerie degli Uffizi, Florence; Gemeentemuseum, the Hague; Hamburger Bahnhof – Museum für Gegenwart, Berlin; Kunstmuseum Wolfsburg, Germany; The Metropolitan Museum of Art, New York; Museum der Bildenden Künste Leipzig; Museum Ludwig, Cologne; Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; Museum Voorlinden, Wassenaar, the Netherlands; National Gallery of Ottawa, Canada; Pinakothek der Moderne, Munich; San Francisco Museum of Art; Solomon R. Guggenheim Museum, New York; Space K, Seoul; and the Stedelijk Museum, Amsterdam, among others. 1 Thomas Meaney, “Neo Rauch’s Antagonistic Art,” The New Yorker (September 27, 2021), accessed online. 2 Neo Rauch in an interview with Ena Swansea, Neo Rauch: Aus dem Boden/From the Floor. Exh. cat. (New York: The Drawing Center, 2018), p. 28. 3 Rauch in an interview with Hélène Trespeuch, “Timeless, Evocative, and Singular,” in Neo Rauch: The Dream of Reason. Exh. cat. (Paris: Bernard Chauveau Édition; Montpellier, France: MoCo Montpellier Contemporain, 2023), p. xiii.


Neo Rauch 
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posted 04. Feb 2024

Tacita Dean

08. Dec 202303. Mar 2024
Tacita Dean Sydney International Art Series 2023/24 December 8, 2023–March 3, 2024 Museum of Contemporary Art Australia (MCA Australia) presents the largest survey of work by acclaimed artist Tacita Dean. Based between Berlin and Los Amgeles, Tacita Dean (b. 1965, Canterbury, UK) is renowned for her compelling works in mediums including film, photography, sound, installation, drawing, printmaking and collage. Engaging with themes of landscape, history, mortality, entropy and the passage of time, Dean’s art reflects her sensitivity to and wonder at natural phenomena, her sustained exploration of processes of making, and the lived empathy for a world in flux. Curated by MCA Australia Director Suzanne Cotter, Senior Curator Exhibitions Jane Devery, and Curator Megan Robson, the exhibition Tacita Dean brings together works created by the artist in the past decade and is composed of inter-related bodies of work made around the world, from Berlin to Los Angeles, Japan and Australia. This exhibition includes new and recent 16mm and 35mm film works, monumental chalkboard drawings, photographic and print series, and works that have resulted from the artist’s set design for the highly acclaimed The Dante Project, a collaboration with choreographer Wayne McGregor and composer Thomas Adès for The Royal Ballet. Exhibited together for the first time are Dean’s monumental chalk on blackboard drawings, The Wreck of Hope (2022) and Chalk Fall (2018). Dean’s use of chalk—an unfixed medium—mirrors the fragility of the landscapes she portrays, which are increasingly threatened by our climate emergency. Depicting a glacier melting, The Wreck of Hope, takes its title from a famous painting of the same name by the German Romantic landscape painter Caspar David Friedrich (b. 1774–d. 1840). The majestic cliff subsiding in Chalk Fall was motivated by Dean’s desire to use chalk to depict chalk collapse in relation to medium extinction and her ongoing struggle to keep photochemical film viable. For the artist, it also resonates with the iconic chalk White Cliffs of Dover and the impact of Brexit. Direct from its presentation at the Bourse de Commerce Pinault Collection in Paris, MCA Australia presents Dean’s most biographical work to date, Geography Biography (2023). The 35mm diptych reflects the artist’s relationship to the world through her ‘cutting room floor’, incorporating outtakes from her 16mm films and her early super and standard 8mm films, to form what she calls an ‘accidental self-portrait’. Premiering for the first time is Dean’s latest film, Claes Oldenburg draws Blueberry Pie (2023), depicting the late American Pop artist Claes Oldenburg (b. 1929–d. 2022) drawing in his Manhattan studio. Originally filmed in 2010, at the same time Dean filmed her earlier portrait of Oldenburg, Manhattan Mouse Museum (2011), Dean revisited the unused footage after an invitation to write on the artist for October art journal following his death. This in turn led Dean to use other film outtakes in Geography Biography (2023).


Tacita Dean 
Museum of Contemporary Art Australia Sydney

MCA NORTH, The Rocks, 140 George Street

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posted 03. Feb 2024

Olivera Parlić Karajanković: Exercises in Transience

03. Nov 202305. Feb 2024
opening: 03. Nov 2023 07:00 pm
03.11.2023 – 05.02.2024 Opening: Friday, November 3 at 7 PM Location: The Salon of the Museum of Contemporary Art, 14 Pariska **Olivera Parlić Karajanković: Exercises in Transience** Present on the art scene since the late 1990s, Olivera Parlić situates her artistic practice in the expanded field of sculpture, developing a recognizable visual language and a specific authorial poetics through working with various kinds of materials and exploring their qualitative-physical properties in the context of formal possibilities and interpretative-semantic potentials. Olivera’s works, seen as a whole, can be considered in a reference range from the legacy of soft sculpture of the 1960s and 1970s to various approaches and strategies in dealing with objects in art throughout the twentieth century, primarily in connection with surrealist experiments involving the recontextualization of the object world, its association with subconscious content, and the creation of unexpected assemblages and strange alliances in the interpretation of immediate reality. In the practical part, the artist will be particularly interested in objects as well as non-standard sculptural materials (textiles, synthetic fibers, plastic and rubber compounds, structures of organic origin) whose properties allow for playing with form itself and a greater manipulativeness close to procedures and actions from everyday life such as household chores, handicrafts, manual labor, usually attributed to the intimacy of female culture. The selected objects and materials, often introduced into dichotomous relationships in Olivera’s sculptures, objects, and installations, function as associative-semantic triggers suggesting very personal but also broader collective affective states and feelings of instability, fragility, and tension as dominant experiences of today’s general social environment and micro-living. Olivera Parlić’s works are characterized by a pronounced tactility and a strong presence of the emotional as the primary cause of each artistic action, the necessity of every directed effort in relation to the object or material, which, thanks to her intervention, become forms for somatic manifestations, gender stereotypes, human behaviors, psychological processes, interpersonal communications… In this sense, it is important to consider the artist’s modes of presentation, spatial solutions, and the conceptualization of settings that always function like a kind of theater of objects, which, in their interrelationships or conflicts, further shape the substance of human stories, plots, dramas, that is, to which, according to the artist herself, she assigns the role “to speak in the language of existence in place of us.” The series of the latest works to be presented at the Salon of the Museum of Contemporary Art is a continuation of Olivera’s contemplation of the sculptural medium through further exploration of the visual and formal characteristics of materials and their expressive capacities to be carriers of conceptual and symbolic activations, either independently or in synergies of their attributed values, origins, and purposes. This time, the artist’s thoughts revolve around the theme of endurance as a measure of the resistance of the (non-)living world to the intensity of time and circumstances transposed into forms whose constituent elements and structures, in the configuration of the relationship between softness and solidity, permanence and porosity, open intriguing visual situations to the observer constituted by the mutual influences of the laws of natural forces and social inscriptions. Hardened and patinated still lifes, ossified emblems, and withered religious-ritual objects, brittle extremities of gigantic shapes, dysfunctional barriers, and concealed purposes, the artist actually presents as an overarching metaphor about the impermanence, ephemerality, and temporariness of the manifest appearances, about the inevitable transience and perishability of everything, from material to meaning. Olivera Parlić Karajanković (Belgrade, 1971) completed her studies in sculpture at the Faculty of Fine Arts (FFA) in Belgrade in 1997 and obtained her master’s degree at the same faculty in 2000. She defended her doctoral artistic project, Eros of Impossible Encounters, Sculptural Forms of Achieved Feelings, in 2014 at the FFA in Belgrade. Since 2005, she has been working as an assistant at the Sculpture Department of the FFA in Belgrade, currently holding the title of full professor. She has exhibited since 1997, both nationally and internationally. Besides numerous solo shows, she also exhibited at the October Salon in Belgrade in 2003 and 2005. She participated in the project (Out) of the Institute for Art in Public Spaces in Styria, Graz, Austria, within the framework of the Styrian Autumn in 2009. In 2017, as part of the Voyage – Journey Through Serbian Contemporary Art exhibition, she presented her work at the China Art Museum in Shanghai. She has taken part in artistic residency programs in Ečka and Jalovik, the International Art Colony Terra in Kikinda, AIR Hotel Pupik in Austria, Sculpture Colony Ada at Ada Ciganlija, art colonies Sićevo and Vlasina, as well as the Marble and Sounds Festival. She has a sculpture, Čun-Pun, installed in the public space at Ada Ciganlija. She is the recipient of the Faculty of Fine Arts Award for Portraiture and the “Sreten Stojanović, Sculptor” award. A significant part of her artistic engagement was within the Independent Art Association Third Belgrade, from its establishment in 2010 until its closure. Exhibition Curator: Miroslav Karić


Miroslav Karic 
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