daily recommended exhibitions

posted 24. Oct 2021

Keith Sonnier. Lightsome

15. Oct 202106. Feb 2022
15.10.2021 bis 06.02.2022 **Keith Sonnier. Lightsome** Mit der Ausstellung Keith Sonnier. Lightsome darf das Neue Museum Nürnberg die erste Retrospektive nach dem Tod des Künstlers im letzten Sommer ausrichten. Weit über sechzig Arbeiten, von den 1960er-Jahren bis in unsere Gegenwart, bieten Einblick in alle Schaffensperioden. Natürlich bezieht sich der Titel Lightsome auf Sonniers bekannteste Werke: die vielen Neonarbeiten, die sein gesamtes OEuvre prägen. Zudem aber, und dies möchte die Ausstellung zeigen, war Sonnier ein ausgesprochen offener und undogmatischer Künstler. So gibt es neben seiner Lichtkunst sehr viel mehr zu entdecken. Früh, schon während seines Studiums an der Rutgers University, zählte Sonnier zur Bewegung der New Sculpture (Neuen Skulptur), die durch kunstferne und flüchtige Materialien die traditionelle Bildhauerei ebenso in Frage stellte wie den damals dominierenden Minimalismus. In den 1970er-Jahren revolutionierte Sonnier die Video-Kunst als kommunikatives und performatives Medium. Das Neue Museum besitzt mit Channel Mix (1972) ein Meisterwerk dieser Zeit. In den 1980er-Jahren übten viele Reisen, unter anderem nach Brasilien, Indien, Indonesien und Japan, großen Einfluss auf den US-Amerikaner aus. Neugierde und Offenheit für andere/s fließen in seine Kunst ein, die vom Wunsch beseelt ist, mit allen Sinnen erfahrbar zu sein. Sonnier wurde 1941 in einer französischsprachigen, akadischen Gemeinschaft in Louisiana geboren. Der Ausstellungstitel ,Lightsome‘ vermittelt einen Eindruck von ,Heiterkeit‘ und ,Unbeschwertheit‘ und spielt so auf die Persönlichkeit und die Haltung Sonniers an, die sicherlich auch von der großen kulturellen Vielfalt des Deep South beeinflusst war. Die Retrospektive schöpft aus einem ganz besonderen Konvolut: einer für alle Schaffensperioden repräsentativen Sammlung. Sie ist in langjähriger Zusammenarbeit mit Christa und Wolfgang Häusler (Häusler Contemporary Zürich) entstanden und wird ergänzt durch internationale Leihgaben, etwa des Nachlasses des Künstlers, des Kunstmuseums St. Gallen und der Tate, London.


Keith Sonnier 
Neues Museum Nürnberg

NEUES MUSEUM | Luitpoldstraße 5
90402 Nuremberg

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posted 23. Oct 2021

Venice International Architecture Biennale 2021

22. May 202121. Nov 2021
22.05.2021 - 21.11.2021 **Venice International Architecture Biennale 2021** 17th International Architecture Exhibition "How Will We Live Together?" curator Hashim Sarkis **Awards of the 17th International Architecture Exhibition** The Awards Ceremony took place on 30 August at Ca’ Giustinian, the headquarters of La Biennale di Venezia. The Awards The international Jury of the 17th International Architecture Exhibition - La Biennale di Venezia composed by Kazuyo Sejima (president, Japan), Sandra Barclay (Peru), Lamia Joreige (Lebanon), Lesley Lokko (Ghana-Scotland), Luca Molinari (Italy), has decided to present the following awards: Golden Lion for Best National Participation: United Arab Emirates Wetland Commissioner: Salama Bint Hamdan Al Nahyan Foundation Supporter: UAE Ministry of Culture and Youth Curators: Wael Al Awar and Kenichi Teramoto Exhibitors: waiwai, New York University - Abu Dhabi (Amber Lab), University of Tokyo (Sato Lab and Obuchi Lab), American University of Sharjah (Dept. of Biology, Chemistry and Environmental Sciences), Farah Al Qasimi Publication: written by Ahmed & Rashid Bin Shabib, Co-edited by Wael Al Awar and Kenichi Teramoto, with contribution from Marina Tabassum Venue: Arsenale Two special mentions has been awarded to the following National Participations: RUSSIA Open! Commissioner: Teresa Iarocci Mavica Curator: Ippolito Pestellini Laparelli Exibitors: KASA (Kovaleva and Sato Architects), Mikhail Maximov, Lion & Unicorn, Ilia Mazo, Yuliya Kozhemyako, Electric Red, Pavel Milyakov aka Buttechno, Vladmir Rannev Venue: Giardini and PHILIPPINES Structures of Mutual Support Commissioner: National Commission for Culture and the Arts (NCCA), Arsenio “Nick” Lizaso, Chairman; Curators/Exibitors: Framework Collaborative (GK Enchanted Farm Community, Architects Sudarshan Varsovia Khadka Jr. and Alexander Eriksson Furunes) Venue: Arsenale Golden Lion for the best participant in the 17th Exhibition How will we live together? to: raumlaborberlin (Berlin, Germany) Instances of Urban Practice Andrea Hofmann (Germany, 1969), Axel Timm (Germany, 1973), Benjamin Foerster-Baldenius (Germany, 1968), Christof Mayer (Germany, 1967), Florian Stirnemann (Swiss, 1976), Francesco Apuzzo (Italy, 1972), Frauke Gerstenberg (Germany, 1968), Jan Liesegang (Germany, 1968) and Markus Bader (Germany, 1968) Venue: Corderie of the Arsenale Silver Lion for a promising young participant in the 17th Exhibition How will we live together? to: Foundation for Achieving Seamless Territory (FAST) (Amsterdam, The Netherlands; New York, USA) Watermelons, Sardines, Crabs, Sands, and Sediments: Border Ecologies and the Gaza Strip with contributions by Amir Qudaih (Palestine, 1993) and the Qudaih family (Palestine), Yael Berda (Israeli, 1976), Sandra Kassenaar (Dutch, 1982), and Malkit Shoshan (Israeli/ Dutch, 1976) Venue: Central Pavilion – Giardini The Jury has decided to award one special mention to the following Participant: Cave_bureau (Nairobi, Kenya) The Anthropocene Museum: Exhibit 3.0 Obsidian Rain Kabage Karanja (Kenya, 1979) and Stella Mutegi (Kenya, 1979), in collaboration with Densu Moseti (Kenya, 1986) Venue: Central Pavilion – Giardini Furthermore, Lina Bo Bardi, the Italian architect, designer, scenographer, artist and critic naturalized as a Brazilian citizen, is the recipient of the Special Golden Lion for Lifetime Achievement in memoriam of the 17th International Architecture Exhibition of La Biennale di Venezia. The acknowledgment was recommended by Hashim Sarkis, curator of the Biennale Architettura 2021, and approved by the Board of Directors of La Biennale di Venezia. The Awards Ceremony of the 17th International Architecture Exhibition took place on August 30th 2021 at Ca’ Giustinian, the headquarters of La Biennale di Venezia, at 4 pm. * Award motivations Golden Lion for Best National Participation to United Arab Emirates for a bold experiment which encourages us to think about the relationship between waste and production at both the local and global scales, and opens to new construction possibilities between craft and high technology. Special mention as National Participation to Russia for a sensitive and careful architectural renovation of a historical pavilion at the Giardini that opens it to its immediate surroundings and to the future. Special mention as National Participation to Philippines for this exemplary community project that creates a rich archive and experience of collaborative construction practices. Golden Lion for the best participant in the 17th Exhibition How will we live together? to raumlaborberlin (Berlin, Germany) for an inspiring collaborative approach that argues for participation, regeneration and collective responsibility, resulting in two projects that are a model for imaginative civic revitalization. Silver Lion for a promising young participant in the 17th Exhibition How will we live together? to Foundation for Achieving Seamless Territory (FAST) (Amsterdam, The Netherlands; New York, USA) for a daring proposal that invites us to think about divided histories, agricultural practices, rituals of daily life and the realities of settlement and occupation. Special mention to the participant in the 17th Exhibition How will we live together? to Cave_bureau (Nairobi, Kenya) for an imaginative and creative exploration of one of man’s oldest living environments.
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posted 22. Oct 2021

Wangechi Mutu. I Am Speaking, Are You Listening?

07. May 202107. Nov 2021
Legion of Honor 07.05.2021 - 07.11.2021 **Wangechi Mutu. I Am Speaking, Are You Listening?** Wangechi Mutu creates constellations of hybrid female figures and fantastic landscapes that take the viewer on journeys through material, psychological, and sociopolitical transformations. An artist who calls both Nairobi and New York City home, Mutu moves voraciously between cultural traditions to challenge colonialist, racist, and sexist worldviews with her speculative projection of an alternate universe informed by feminism, Afrofuturism, and the Symbiocene. Driven by a unique understanding of the need for new mythologies, she eschews the common distinctions between states of being, seeing, and being seen, instead harnessing the productive friction generated by their collision. Mutu’s exhibition at the Legion of Honor, entitled I Am Speaking, Are You Listening?, is exemplary of her capacity to construct imaginary worlds that spur a purposeful examination of and dialogue between multiple traditions and histories, using the power of art as a technique for archiving and remembering. Remembrance is at the core of Shavasana I and Shavasana II, two bronze sculptures of female figures lying face-up on the ground beneath Auguste Rodin’s The Thinker (1904). Their bodies are covered with a carefully woven sheath, leaving only their extremities visible. The shine of their polished fingernails and the bright colors of their stilettos stand in harsh contrast to their limp limbs, bespeaking a sparkle of life prematurely taken. The making of these sculptures was triggered by the murder of Nia Wilson, an 18-year-old teenager from Oakland, California, on July 22, 2018. News of Wilson’s gruesome death at the hand of a knife-wielding white stranger who attacked her and her sisters at Oakland’s MacArthur BART station went viral, sparking national public protests and vigils. Mutu’s sculptures transcend specific reference, however, instead serving as a haunting reminder of the systemic silence around the countless murders of people of color, in particular those of girls and women, who exist in the margins of power. Named after the corpse pose in yogic practice, in which a symbolic death is reenacted as a condition for restoration, the works demand acknowledgment and reckoning, acts essential to change and healing. By laying these sculptures at the base of and in the sightline of The Thinker, Mutu wrests these deaths from their cultural invisibility, making them the subject of his, and thus our, contemplation. The “us” implied here is, of course, that of the Western world, whose colonial exploits and marginalization of both people and planetary resources forge the ongoing subtext for its stories of progress and modernization, the dismantling of which has only just begun. Joining the Shavasanas in the Court of Honor are MamaRay and Crocodylus, chimerical creatures that metabolize ancient legends and lived realities into images of feminine might. Both blend the bodies of humanoid females bearing the “alien” traits of Afrofuturism with fantastical iterations of the fearsome water-bound animals alluded to in their titles. Standing guard, MamaRay and Crocodylus are warrior deities risen from the artist’s mind to symbolically protect the powerless, the disenfranchised, the repressed, whose ongoing sacrifices the Shavasanas commemorate. These warriors’ protective reach metaphorically extends to Water Woman, a mermaid-like figure sitting atop a pedestal in the rotunda of the Legion of Honor’s entrance. She pays homage to the folkloric pantheon of water spirits present in many world cultures, including the Zimbabwian Njuzu, the Somali Gabaray Maanyo, the Yoruban Yemoja, the pan-African Mami Wata, and, in particular, the Nguva from East African folklore. Like her many sister spirits she is often portrayed as an alluring huntress of lost and weak souls. Mutu’s rendition, however, undercuts the narrative of the deathly temptress—a universally ubiquitous role assigned to women throughout history. Endowing her with delicate, almost childlike features and an introspective gaze that trails off into the distance, Mutu reframes the Nguva’s power in terms of a life affirming resiliency and dignity. Within the galleries of the museum, Mutu introduces figures made of soil, wood, shells, and gems indigenous to the Kenyan landscape. Reflective of traditional techniques used in the making of African sculptures, ornaments, and battle shields, they also incorporate allusions to lip plating and scarification as an ancient form of both art and archive. Dispersed through the galleries, sculptures like I am Speaking, Can you hear me?, Mirror Faced I, II, III, Outstretched, Sentinel IV, and Seeing Cowries invite the viewer to contemplate the possibility of a world defined by understanding and care. Acknowledging the enormity of the task ahead, Mutu’s new film My Cave Call features her in the guise of a horned mythic creature seeking wisdom from the bowels of a holy cave in the Rift Valley of Kenya. Her performance, paying homage to traditional rituals of truth seeking, is both a dance and a prayer. In concert with her apse-like installation of Prayers in the main Rodin gallery, it gives shape to her belief in and love for the divinity of the earth, the power of woman, and the potential of art to bespeak and redress the injustices of this world. Wangechi Mutu: I Am Speaking, Are You Listening? is organized by Claudia Schmuckli, Curator in Charge of Contemporary Art and Programming at the Fine Arts Museums of San Francisco.


Wangechi Mutu 
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posted 21. Oct 2021


20. Oct 202124. Oct 2021
20 — 24 OCTOBER 2021 **PARIS INTERNATIONALE 2021** Paris Internationale is pleased to announce its 2021 edition, taking place from 20 to 24 October 2021 at 186 avenue Victor Hugo. A professional preview will take place on Tuesday, October 19. For its seventh edition, Paris Internationale welcomes back longstanding collabo- rators such as e.g. greengrassi (London), Kendall Koppe (Glasgow), KOW (Berlin), Misako & Rosen (Tokyo), Stereo (Warsaw) or Veda (Florence), as well as exciting new exhibitors e.g. Crisis (Lima), Delgosha (Tehran), Ginsberg Galeria (Lima), Grey Noise (Dubai), LC Queisser (Tbilisi), Piedras (Buenos Aires) or First Floor Gallery (Harare). All galleries are bringing solo or duo presentations to an intimate and welcoming setting in a residential building on avenue Victor Hugo in Paris’ 16th arrondisse- ment to the west of the Eiffel Tower. As every year, Paris Internationale is also supporting the major contribution of non-profit spaces and invited Blitz (Valletta), Rhizome (Algiers) or Selebe Yoon (Dakar) and Studiocur/art (Beirut/Paris) to the fair. This year’s public programs will feature the third itération of Daily Dérives, a series of commented visits and a curated program of conversations. Overseen by Anissa Touati, who has recently joined the team as Curator-at-large, the talks focus on tactics of togetherness while imagining new futures. The full schedule will be announced this week-end. As part of its support to the young French art scene, this edition will be an op- portunity for the Emerige Endowment Fund to exhibit works by the winners of the Emerige Revelation Grant. The 7th edition of Paris Internationale is also supported by Fondation d’entreprise Galeries Lafayette and Métier. Paris Internationale has also further developed the website to provide a properly pleasurable experience of the galleries’ presentations in viewing rooms allowing for ample contextual material that will be available until October 31st. A cornerstone of the city’s cultural agenda, Paris Art Week brings an unparalleled energy to the great galleries and cultural institutions of Paris each October. We are happy to be back with a great fully irl edition of Paris Internationale in this context and look forward to seeing you. « After these long months of lock-down which allowed us to question the way we work, it seems more important than ever to celebrate our community of artists and galleries, and the vivacity of Paris as an art capital » Silvia Ammon, Director

16, rue Alfred de Vigny
75008 Paris

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posted 20. Oct 2021

Éric Baudelaire. Death Passed My Way and Stuck This Flower in My Mouth

11. Sep 202128. Nov 2021
11. September – 28. November 2021 Eröffnung: Freitag, 10. September 2021, 18–21 Uhr **Éric Baudelaire. Death Passed My Way and Stuck This Flower in My Mouth** Der Filmemacher und Künstler Éric Baudelaire (*1973 in Salt Lake City/US, lebt und arbeitet in Paris/FR) präsentiert in der Kunst Halle Sankt Gallen eine Serie von Werken, die im letzten Jahr entstanden sind. Brennende The- men der Gegenwart bilden die inhaltliche Klammer für die Neuproduktionen des Künstlers, der 2019 mit dem ‹Prix Marcel Duchamp› ausgezeichnet wurde. Besonderes Interesse seiner forschungsbasierten Praxis gilt der Entwicklung einer künstlerischen Sprache zur Erkundung einer von Repräsentationssyste- men geprägten Realität, die die gesellschaftliche und individuelle Erfah- rung strukturiert. Für die Ausstellung realisiert Baudelaire eine raumgrei- fende Videoinstallation und weitere Arbeiten, bei denen die Blume – real und metaphorisch – als Ausgangspunkt zur Erforschung der ‘conditio humana’ im Moment globaler Krisen dient. Im Zentrum des Mehrkanal-Films im ersten Raum der Ausstellung steht die grösste Kühlhalle Europas, in der jeden Morgen 46 Millionen Blumen aus Far- men in Afrika und Südamerika eingeflogen und versteigert werden. Die Arbeit in der Kühlhalle ist in Form einer hypnotischen, visuellen Anthropologie gefilmt, die gleichzeitig verführt, weil Blumen etwas Schönes sein können, und beunruhigt, weil das ökologische Ausmass dieses globalisierten Handels offenbart wird. Die dokumentarischen Aufnahmen verbindet Baudelaire mit Szenen eines fiktiven Beobachters, der nachts durch die Strassen streift: Sie sind inspiriert von Luigi Pirandellos Theaterstück L'Uomo dal Fiore in Bocca (1922) (dt: Der Mann mit einer Blume in seinem Mund). Die Blume, die auch der Ausstellung ihren Titel gibt, ist Referenz für ein Epitheliom, ein Tumor, der zu der Zeit als Pirandello das Stück schrieb eine unheilbare Krankheit war. Der Protagonist, dem Tod nahe, projiziert sich durch Gesprä- che mit Fremden und intensiven Beobachtungen in die kleinsten Details sei- ner Umgebung; ein Versuch seinem drohenden Schicksal zu entgehen. Pirandel- los Theaterstück dient Baudelaire als Ausgangspunkt und Versatzstück, um eine narrative Ordnung zu schaffen, in der unsere Beziehung zur Welt und deren Endlichkeit thematisiert wird. Flüchtige Augenblicke und zyklische Prozesse bilden ein Raster in der Aus- stellung. Die ephemere Lebensdauer der Blumen kontrastiert den unendlich erscheinenden, maschinellen Kreislauf des Marktes und liest sich als Zei- chen jener Verletzlichkeit, die der Natur und Gesellschaft innewohnt. Die während der Pandemie gesammelten statistischen Daten, die Baudelaire in skulpturale Wachsreliefs übersetzt, erweitern seine Formensprache und schaffen eine lockere Poesie der Blumen, drohenden Katastrophen, Krankhei- ten und wirtschaftlichen Prozesse, während sie die Frage nach ihrer Reprä- sentation aufwerfen. Indem Baudelaire die Bilder, die unsere Wahrnehmung der Wirklichkeit prägen, auf verschiedene Ebenen projiziert, ermöglicht er uns, ein eigenes Netz an Verbindungen zu knüpfen; nicht als Illusion eines Ganzen, sondern als fragmentierte, schmerzhafte und lyrische Schichten. Éric Baudelaire *1973, Salt Lake City/US) lebt und arbeitet in Paris/FR.
Kunst Halle Sankt Gallen

Davidstrasse 40
CH-9000 Saint Gallen

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posted 19. Oct 2021

Sabine Metzger. Around The Bend

19. Oct 202119. Nov 2021
Künstlerverein Malkasten, Jacobihaus 19.10.2021 – 19.11.2021 **Sabine Metzger. Around The Bend** "Herzliche Einladung zur Eröffnung der Ausstellung im Jacobihaus am Dienstag, 19. Oktober 2021 um 19 Uhr. Zur Eröffnung spielt Laurenz Hambrecht aus der Cellosuite Nr. 3 von J.S. Bach. Öffnungszeiten dienstags von 19 – 22 Uhr. sowie nach telefonischer Vereinbarung unter 0211 – 35 64 71
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posted 18. Oct 2021

Georges Mathieu

09. Sep 202123. Oct 2021
Georges Mathieu September 9 - October 23, 2021 New York - In celebration of the 100th birthday of Georges Mathieu (1921-2012), Perrotin and Nahmad Contemporary, in collaboration with the artist’s estate, are pleased to mount the first extensive survey of Georges Mathieu's practice in the United States. Spread across two New York venues, the presentation reevaluates Mathieu’s significant contributions to the development of post-war abstraction. As a key pioneer of Action Painting, the exhibition will pay particular attention to the artist’s monumental paintings, which exemplify his commitment to the encounter between body and canvas. To accompany the presentation and to honor the centennial of the artist, an important monograph has been published in English and French featuring exclusive archival material, an essay by chief art historian Germano Celant, and a transcribed interview by leading museum curator, Nancy Spector. Georges Mathieu was one of the foremost French artists active during the 1950s and 60s. The centenary of his birth offers an ideal occasion to look back at the career of an artist and theorist who dedicated his life to an emotive, gestural, and highly nonrepresentational form of abstraction that had no correlative in the empirical world. The founder of Lyrical Abstraction, a movement that rejected the legacy of European geometric abstraction launched by Picasso’s Cubism and Mondrian’s De Stijl, Mathieu deeply influenced generations of artists working in the realm of performance and action-based painting. — Nancy Spector Playing a decisive role in postwar painting, Mathieu diverted from the geometrical abstractions dominating the previous era by forging a visual language that favored form over content and gesture over intent, and harnessed uninhibited creative expression. During the 1950s, Mathieu executed large canvases before audiences, a performative aspect that rivaled Gutai, the Japanese avant-garde group, and anticipated the work of Yves Klein and the “Happenings” in the United States. In 1952, Alexander Iolas gave Mathieu his first solo U.S. exhibition at the Stable Gallery. On the occasion of the show, The New York Times called the artist, “one of the most fervid of contemporary French abstractionists,” and in 1954, the newspaper affirmed him an abstract expressionist as powerful in Paris as Willem de Kooning is for Manhattan. Clement Greenberg considered him, “the strongest of all new European painters. Georges Mathieu, the transatlantic painter I admire most.” Despite Mathieu’s ardent popularity at the onset of his career and the extensive acquisition of his paintings by major American and European museums early on, the artist has largely been overlooked in recent decades—his last major exhibition in the United States took place forty-two years ago at Wildenstein gallery in New York. As such, this exhibition offers a unique opportunity to reintroduce Mathieu’s work and interpret the development of his art and his legacy with a fresh perspective. The show will take place at both Nahmad Contemporary and Perrotin galleries in New York and will feature an ensemble of over 50 major paintings of every period, ranging from the 1950s to the last paintings executed in the 1980s and early 1990s. This celebratory exhibition will present works from the artist’s private collection, many of which will be exhibited for the first time. Additionally, the show will also include important works from museums and institutions such as the Albright- Knox Art Gallery, Buffalo; The Michigan State University; the Museum of Fine Arts, Houston; the Phillips Collection, Washington DC; and the Wadsworth Atheneum, Hartford. More information about the artist Georges Mathieu (b. 1921, Boulogne-sur-Mer, France; d. 2012, Boulogne-Billancourt, France) began to paint in 1942 at the age of 21 after studying languages, literature, law and philosophy at a variety of institutions in France. His professional life extended beyond painting to include roles as a professor, interpreter, public relations director, writer and theorist. The artist participated in many other cultural endeavors that allowed for artistic engagement with the public. He advocated for the presence of art in France’s national education system, contributed to urban architectural plans and designed travel posters, television logos, stamps, and over 100 million of the 10-franc coin. His work has been the subject of numerous retrospectives, including those at Musée d’art moderne de la Ville de Paris (1963); Grand Palais, Paris (1978); and Jeu de Paume, Paris (2002). Other notable solo exhibitions were presented at the Institute of Contemporary Arts, London (1956); the Kunstmuseum, Basel (1958) ; the São Paulo Museum of Modern Art (1960); the Musée des Beaux-Arts de Nantes, France (1966); and Maison de la Culture, Rennes, France (1969). His work is currently held by more than 80 museums and public collections, including the Art Institute of Chicago; the Centre Georges Pompidou, Paris; the Hirshhorn Museum and Sculpture Garden, Washington, DC; the Kunstmuseum Basel; the Kunsthaus Zurich; the Museum of Contemporary Art, Los Angeles; the Museum of Fine Arts, Houston; the Museum of Modern Art, New York; the Musée National d’Art Moderne, France; the Solomon R. Guggenheim Museum, New York; and the Tate, London.

980 Madison Avenue
NY 10075 New York

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posted 17. Oct 2021

Claudia Wieser. REHEARSAL

29. Jul 202117. Apr 2022
Claudia Wieser. REHEARSAL Jul 29th, 2021 – Apr 17th, 2022 Public Art Fund, New York CLAUDIA WIESER TO DEBUT FIVE LARGE-SCALE SCULPTURES AT THE ICONIC VISTA OF THE MANHATTAN BRIDGE IN DUMBO CREATING A DESTINATION FOR REFLECTION AND CONNECTION On July 29, Public Art Fund will unveil Rehearsal, Berlin-based artist Claudia Wieser’s public art debut. Featuring five distinct large-scale geometric sculptures clad with hand-painted glazed tiles, panels featuring photographs of New York City and Roman and Greek antiquities, and mirror polished stainless steel, Rehearsal will create an immersive experience for park goers to explore. The cluster of sculptures will be located at the iconic terminus of Washington Street, where the Manhattan Bridge frames the Empire State Building. Juxtaposed with the surrounding architecture and natural landscape of Brooklyn Bridge Park, Rehearsal highlights the dynamism of the city and its people. The installation can be seen as both a meeting place and a theatrical set that hearkens back to ancient Roman forums—public spaces where people could assemble, interact, and exchange ideas. Inviting park goers into the installation to explore the painted, photographic, and mirrored details of Wieser’s works, Rehearsal will offer a moment of pause and reflection, and also allow the public to become actors in their own urban narrative. “Wieser is acutely aware that the sculptures will become part of the landscape of the city for a time and wanted to create a powerful synergy with the bustling surroundings of DUMBO. Building a dialogue between the public and the sculptures is an integral part of Rehearsal,” says Public Art Fund Associate Curator Katerina Stathopoulou. “Park goers will activate the works by touching, resting, and seeing themselves and the city reflected as they weave their way through the constellation of sculptures.” In conceiving her first outdoor work, Wieser was presented with the unique opportunity to link the sculptures to the surrounding built and natural environments. The structures range in height from seven to 13 feet and are encased in a balance of more than 1000 warm and cool-toned clay tiles that were hand-painted by the artist in her Berlin studio. They define the shape of each sculpture and echo the patterns of the neighboring historic red brick buildings and nearby Belgian-block paving stones. Wieser treats each tile as a surface for a painting, showing the marks of her workmanship. Interspersed throughout the sculptures are images that add different layers of perspective: contemporary photographs of New York City taken by Wieser during past trips, and others captured by tourists in the 1980s and 90s, along with reproductions of ancient sculptures that allude to Roman forums. Highly polished stainless steel reflects the movement of visitors as they pass through the sculptures. In choosing the title, Wieser underscores the performative nature of the work, drawing attention to the interplay between visitor and artwork to suggest something that is still in process and ever-evolving. Copyright Public Art Fund, New York; Photo Nicholas Knight Wieser is known for her Modernist-inspired geometric constructions that reference Bauhaus architecture and design, spirituality, alchemy, and furniture design, with a nod to 20th century abstract and expressionist artists such as Hilma af Klint, Wassily Kandinsky, and Paul Klee. Trained as a blacksmith, her work has evolved to encompass craft and functionality—an ethos at the forefront of her Public Art Fund commission. The sculptures take into consideration site specificity and were conceived with the public in mind, to provide an opportunity for escape, respite, and connection as we re-emerge into our shared world. ABOUT PUBLIC ART FUND As the leader in its field, Public Art Fund brings dynamic contemporary art to a broad audience in New York City and beyond by mounting ambitious free exhibitions of international scope and impact that offer the public powerful experiences with art and the urban environment. About Claudia Wieser Claudia Wieser is a Berlin-based artist who creates drawings, sculptures, wall installations and tapestries based on the principle of geometric abstraction.
Public Art Fund, New York

PAF - Public Art Fund / One East 53rd Street
NY-10022 New York

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posted 16. Oct 2021

Jacqueline Humphries

18. Sep 202102. Jan 2022
18.09.2021 - 02.01.2022 **Jacqueline Humphries** The Wexner Center for the Arts at The Ohio State University will devote its galleries to the first large-scale museum exhibition for vanguard abstract painter Jacqueline Humphries. Guest-curated by Mark Godfrey, the exhibition will feature over 30 works, including a new multipanel installation—her largest to date—created in response to the center’s iconic postmodernist architecture. A maverick figure in New York’s downtown scene, Humphries has reworked and revitalized the language of abstract painting over a career that has covered four decades and multiple transformations in style. The Wex’s presentation will focus on the past seven years, highlighting the importance of digital communications and online culture to Humphries’s evolving practice. Incorporating the QWERTY keyboard as a means of generating abstract form, some paintings feature emoticons, emoji, kaomoji, and CAPTCHA. Humphries produces others by scanning her earlier works, translating them into ASCII character code, and using stencils created from the results as the basis for new compositions. The exhibition will also feature Humphries’s recent work exploring the visual language of logos; her black light paintings, made with fluorescent paints to be presented in a darkened space; and a selection of protest sign paintings. These invoke art’s long history as a medium of dissent as well as the uprisings that have increasingly shaped modern politics. A major catalogue featuring essays by Godfrey, Hamza Walker, Jenny Nachtigall, and Wex Executive Director Johanna Burton, along with a conversation between Humphries and Donna De Salvo, will accompany the exhibition. Designed by Studio Markus Weisbeck, this extensively illustrated catalogue offers an up-close view of Humphries’ recent practice. The catalogue will be co-published by Gregory R. Miller & Company and the Wexner Center for the Arts. A robust lineup of talks and events will also occur throughout the exhibition’s run.
Wexner Center for the Arts, Columbus

1871 North High Street
OH 43201 Columbus

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posted 15. Oct 2021

34th Bienal de São Paulo - "Though it's dark still I sing"

04. Sep 202105. Dec 2021
04.09.2021 - 05.12.2021 at the Bienal Pavilion Parque Ibirapuera, portão 3, Vila Mariana, São Paulo - SP **34th Bienal de São Paulo - "Though it's dark still I sing"** All artists with exhibitions at partner institutions will be present at the Pavilhão Bienal, allowing new experiences and relationships with the works. The curatorial project of the 34th Bienal de São Paulo intends to expand the exhibition, multiplying the opportunities to encounter art and claiming, at the same time, the right to opacity of both artistic expressions and also identities of subjects and social groups A fundamental characteristic of the project since its inception has been to conceive all its aspects as interrelated and complementary. The institutional, conceptual, thematic and artistic questions are interwoven to the point of being inseparable. The different layers of the project complement each other, and the exhibition is imagined as a process of reflection and construction maintained programmatically open, in which both external events and the maturing of curatorial reflections contribute to changing and shaping the exhibition. The ways in which the initial ideas remain the same or transform are made explicit through texts and in the way the works are presented. The 34th Bienal, which officially started on 8th February 2020 and was due to end in December of the same year, has now been extended until the end of 2021 as a result of the COVID-19 pandemic. In this new scenario, various aspects of the original project have been maintained, while others have had to be modified and adapted. Although significant, these modifications do not alter the core concept or character of the 34th Bienal in that they maintain its central premise, which seeks to transparently and dynamically construct an exhibition from a methodology founded in exchange and in relationships between institutions, curators, artists, artworks and the public. Based on these premises, this version of the curatorial concept (drawn up in November 2020) takes into account the events of recent months, previous curatorial reflections, the correspondences, the performance and solo and group exhibitions that occupied the Ciccillo Matarazzo Pavilion over the course of 2020, and, in particular, the work of the artists who influence, inspire and guide us. The curatorial project proposes to structure the show based on the concept of “relation.” Freely inspired by the reflections of thinkers such as Édouard Glissant (Sainte-Marie, Martinique, 1928 – Paris, France, 2011), who took the Poetics of Relation (the title of a book he published in 1990) as one of the central points of his philosophy, and by the analyses of the Amerindian worldview developed in recent decades by Eduardo Viveiros de Castro (Rio de Janeiro, 1951), the 34th Bienal states that it is necessary to abandon narrow and monolithic viewpoints to become open to the multiplicity of possible relations under constant evolution. In the polarized context in Brazil and worldwide today, where the different sides are increasingly closed off to each other and to dialogue, these lessons become urgent and necessary. Time, space and depth Temporally, the initial proposal to expand the Bienal throughout 2020, with solo shows and events held in the Bienal Pavilion between February and August, has been extended even further, now continuing until December 2021 and deepening the reflections and exchanges with the participating artists through an intense online program. In spatial terms, the event continues to embrace the city through partnerships with more than twenty of the city’s cultural institutions, a program which has also been extended to cover an even longer period of time than previously planned. Between October 2020 and December 2021, each of these institutions will host solo exhibitions by artists who have also been invited to participate in the Bienal, asking the public to consider the artworks based on the distinct relationships they establish in a solo show and in a large group exhibition, like the Bienal. Finally, in terms of its depth, the show is initially arranged around individual statements and gradually opens itself up to dialogue and a network of relationships. The first events of the Bienal were a solo exhibition by Ximena Garrido-Lecca and a performance by Neo Muyanga (in collaboration with Bianca Turner and the Legítima Defesa collective), which can be considered as standalone statements. In a later event, the group exhibition Wind occupied the whole building with works by 21 artists. Possible relationships were rehearsed between them while, given the distance between the artworks, each artist was shown almost individually. In parallel to Wind, the first exhibitions at the partnering institutions already opened in the city, so some of the works began to be placed in relation to other readings of the poetics of the artists involved, becoming part of a more complex and interlinked discussion that expanded into the city, further enlarging the dialogue and construction of the process that will culminate in September 2021 with the group exhibition at the Ciccillo Matarazzo Pavilion. Though it’s dark, still I sing Seen more as a statement than a theme, the title of the 34th Bienal de São Paulo, Faz escuro mas eu canto [Though it’s dark, still I sing], is a line from a poem by Thiago de Mello, published in the book with the same name by the poet in 1965. In his work, the poet, who is from the Northern region of Brazil, speaks clearly about the problems and hopes of millions of men and women around the world: “Hope is universal, the social inequalities are also universal (…). We are at a moment at which the apocalypse is gaining on utopia. For some time now I have made the choice: between apocalypse and utopia, I’m staying with utopia,” the writer says. Through this title, the 34th Bienal recognizes the state of anxiety of the contemporary world while underscoring the possibility of the existence of art as a gesture of resilience, hope and communication. Dialogues By proposing a network of cultural connections, the 34th Bienal aims to strengthen the articulating role that the Bienal de São Paulo has played historically in the Brazilian scene, considering both the current scenario as well as the specificities and diversity of the local institutions, with which the Fundação Bienal seeks to build relationships in an entirely new way. There is thus a close fit between the curatorial proposal and the Fundação’s institutional goals, essential for the realization of this project. Through its engagement with this network and its multifaceted composition, the 34th Bienal intends to present a plural and transforming view of contemporary artistic production and of the moment in which we live. Rehearsal The idea of an exhibition that is gradually constructed through an open process whose functioning and conceptual premises are constantly visible is supported on the notion of rehearsal. On the one hand, the term is used in the sense it has been given by artist Francis Alÿs, that is, as a symbol of the Latin American context (the geographical context from where this Bienal is consciously and programmatically conceived), where things seem to always be about to arrive somewhere, but, as in a rehearsal, fall out of tune and return to the starting point. On the other hand, the idea of rehearsal allows us to think about the exhibition as a process, a space where things are presented without the aim of being definitively crystallized, once again enlarging the importance of resignification that arises from the relations that are created throughout the process. Finally, the theme of rehearsal is ascribed here to a further sense as well: the awareness of the need for a painstaking effort of attempts and repetitions until the artworks enter in tune with one another, sounding in unison. It is this tuning that is being sought for in the exhibition, and this is why a lengthened time is proposed for it, coupled with a poetics of repetition and resignification. Educational project One of the essential premises of the 34th Biennial is to emphasize the relationships established between different works and artists as a way of enabling a broader understanding of contemporary production. Recent or commissioned works will be placed in parallel with the production of previous decades, thus evidencing artistic lineages that are often incomprehensible to the Brazilian public, due to the difficulty of directly observing this production and, even more, observing it in direct confrontation with contemporary art. At the same time, in promoting comparisons between works of different places and eras, the educational program may point to the necessity of questioning dominant genealogies (essentially European and white) in an additional movement of relativization inspired by the philosophy of Glissant. While educational purposes have been key to the Fundação Bienal's mission from its very beginnings, the 34th Bienal represents a unique attempt to introduce a bold approach to one of the main conundrums of every edition: being able to be innovative and attuned to the most contemporary art practices, while not being perceived as cryptic or elitist by a large part of its more than 800,000 visitors. Editorial project Just as the artworks are first presented in an initial configuration that will later be enriched and made nuanced by new juxtapositions, the publications on the 34th Bienal will comprise a collection of texts and images that will be fluidly articulated in the catalogue accompanying the main exhibition. The publications will attempt to appropriate the Bienal’s open methodology, aiming to emphasize the impossibility of definitively and faithfully crystallizing what is conceived as a process in constant transformation. The publications will include a main catalogue (with a partial version released online in April 2021 and a full and printed version in September of the same year), an exhibition guide and an educational book, as well as a website and materials published throughout the duration of the Bienal. Elvira Dyangani Ose acts as the guest editor, in collaboration with The Showroom, London. Online public program As the 34th Bienal was redesigned according to its new schedule, an intense online program was organized as a way to complexify and deepen the show's concepts in a space accessible to the public. In addition to the aforementioned correspondences, which are sent periodically via e mail, other activities have also been programed, including events, studio visits and a series of six live debates between the 34th Bienal curators and the show's participating artists. The curators * artists: Abel Rodríguez, Adrián Balseca, Alfredo Jaar, Alice Shintani, Amie Siegel, Ana Adamović, Andrea Fraser, Anna-Bella Papp, Antonio Dias, Antonio Vega Macotela, Arjan Martins, Beatriz Santiago Muñoz, Belkis Ayón, Carmela Gross, Christoforos Savva, Clara Ianni, Claude Cahun, Daiara Tukano, Daniel de Paula, Darcy Lange, Deana Lawson, Dirk Braeckman, E.B. Itso, Edurne Rubio, Eleonora Fabião, Eleonore Koch, Eric Baudelaire, Frida Orupabo, Gala Porras-Kim, Giorgio Griffa, Giorgio Morandi, Grace Passô, Guan Xiao, Gustavo Caboco, Hanni Kamaly, Haris Epaminonda, Hsu Che-Yu, Jacqueline Nova, Jaider Esbell, Jaune Quick-to-See Smith, Joan Jonas, Jota Mombaça, Jungjin Lee, Juraci Dórea, Kelly Sinnapah Mary, Koki Tanaka, Lasar Segall, Lawrence Abu Hamdan, Lee 'Scratch' Perry, León Ferrari, Lothar Baumgarten, Luisa Cunha, Lydia Ourahmane, Lygia Pape, Manthia Diawara, Mariana Caló and Francisco Queimadela, Marinella Senatore, Marissa Lee Benedict and David Rueter, Mauro Restiffe, Melvin Moti, Mette Edvardsen, Musa Michelle Mattiuzzi, Nalini Malani, Naomi Rincón Gallardo, Neo Muyanga, Nina Beier, Noa Eshkol, Olivia Plender, Oscar Tuazon, Paulo Kapela, Paulo Nazareth, Philipp Fleischmann, Pia Arke, Pierre Verger, Regina Silveira, Roger Bernat, Sebastián Calfuqueo, Silke Otto-Knapp, Sueli Maxakali, Sung Tieu, Tamara Henderson, Tony Cokes, Trajal Harrell, Uýra, Victor Anicet, Vincent Meessen, Ximena Garrido-Lecca, Yuko Mohri, Yuyachkani, Zina Saro-Wiwa, Zózimo Bulbul
Sao Paulo Biennial °

Bienal de São Paulo / Parque Ibirapuera, Gate 3, Ciccillo Matarazzo Pavilion
04094-000 Sao Paulo

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posted 14. Oct 2021


21. Aug 202131. Oct 2021
21. August — 31. Oktober 2021 **ABY WARBURG: BILDERATLAS MNEMOSYNE. DAS ORIGINAL** Mit der Ausstellung ABY WARBURG: BILDERATLAS MNEMOSYNE. DAS ORIGINAL kommt Aby Warburgs berühmter Bilderatlas zurück nach Hamburg in Warburgs Geburtsstadt und wird vom 21. August – 31. Oktober 2021 in der Sammlung Falckenberg zu sehen sein. Der »Bilderatlas Mnemosyne« zählt bis heute zu den weltweit bedeutendsten kunsthistorischen Forschungsprojekten. Der Bankierssohn Aby Warburg (1866–1929) wandte sich nach seinem Studium der Kunstgeschichte schon früh von der damals verbreiteten Genre- und Zeitzuordnung von Kunst ab und untersuchte die Wechselwirkungen von Bildern aus verschiedenen Epochen und kulturellen Kontexten. Er entwickelte den »Bilderatlas Mnemosyne«, um die Einflüsse der Antike auf die Renaissance und weit darüber hinaus bildlich darstellbar zu machen. Die von Axel Heil und Roberto Ohrt gemeinsam mit dem Warburg Institute London kuratierte und vom Haus der Kulturen der Welt in Berlin produzierte Ausstellung, stellt die letzte dokumentierte Version des Atlas von Herbst 1929 nahezu vollständig mit den Originalabbildungen wieder her: Der größte Teil der originalen, teils mehrfarbigen 971 Abbildungen in der 400.000 Objekte zählenden »Photographic Collection« des Warburg Institute wird zum ersten Mal nach Warburgs Tod auf 63 Tafeln seines unvollendeten Hauptwerks präsentiert. Erstmalig sind außerdem 20 unveröffentlichte großformatige Abbildungen von Tafeln zu sehen, die bisher nur im Archiv des Warburg Institute zugänglich waren: Sie gehören zu den Vorversionen des Atlas, größtenteils im Herbst 1928 entstanden, und werden in großen Fotoabzügen von den schwarzweißen Originalnegativen präsentiert. Der Atlas bestand in seiner letzten Version aus 63 großen schwarzen Tafeln, auf denen Warburg fotografische Reproduktionen von Kunstwerken aus dem Nahen Osten, der europäischen Antike und der Renaissance neben zeitgenössischen Zeitungsausschnitten und Werbeanzeigen anordnete. In den Jahren vor seinem Tod 1929 experimentierten Warburg und seine engsten Mitarbeiter*innen Gertrud Bing und Fritz Saxl mit der Form und Funktion des Bilderatlas. Ihr Ziel war eine Publikation, die für die Diskussion zwischen Expert*innen ebenso wie für das breitere Publikum gedacht war. Bereits im Entstehungsprozess entwickelte sich der Atlas damit zu einem Erkenntnisinstrument. Warburgs Methode setzte neue Maßstäbe: Die neue Form der Anordnung kanonisierter Bilder überschritt die Fachgrenzen zwischen Kunstgeschichte, Philosophie und Anthropologie und war grundlegend für die heutigen Disziplinen der Bild-und Medienwissenschaften. DIE AUSSTELLUNG WURDE VON AXEL HEIL UND ROBERTO OHRT MIT DEM WARBURG INSTITUTE IN ZUSAMMENARBEIT MIT DEN DEICHTORHALLEN HAMBURG / SAMMLUNG FALCKENBERG KURATIERT UND VOM HAUS DER KULTUREN DER WELT, BERLIN PRODUZIERT.


Aby Warburg 


Axel HeilRoberto Ohrt 
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posted 13. Oct 2021

7th Athens Biennale 'ECLIPSE'

24. Sep 202128. Nov 2021
September 24–November 28, 2021 Opening days: September 24–26 various locations in Athens **7th Athens Biennale 'ECLIPSE'** Designed to reflect the various aspects of the current transitional experience, the 7th Athens Biennale ECLIPSE aspires to address the viewers’ imagination of potential parallel worlds and futures. ECLIPSE activates a cross-cultural conversation among artistic voices that have historically been pushed to the periphery and orchestrates an experiential shift in art viewing. In ECLIPSE, narratives from contemporary Black, queer, speculative, and radical artistic voices converse with practices of rituals, worldmaking, and interdependence. ECLIPSE presents a translocal chapter of contemporary thought that champions a revisiting of identities and a queering of history. By counter-offering radical care, virtual, and fluid alternative states through sonic and immersive strategies, ECLIPSE aims to summon transformative powers to usher us beyond the current era into a space of thought and reflection. Curated by the Berlin-based collective Omsk Social Club and the Ghanaian-American curator Larry Ossei-Mensah, under the artistic direction of the Athens-based artist and curator Poka-Yio, AB7: ECLIPSE from September 24 to November 28, 2021, presents works by more than 80 artists from North and South America, the Caribbean, Africa and Europe: manuel arturo abreu, Zebedee Armstrong, as they lay w/ Abdu Ali + Markele Cullin*, Sanford Biggers, Billy Bultheel*, Judy Chicago, Contemporary And, Zuzanna Czebatul, Simon Denny, DETACH (Voltnoi & Quetempo)*, Alexandros Douras, Christoph Draeger, Claude Eigan, Awol Erizku, Doreen Garner, Miles Greenberg, Happy New Tears*, HellFun*, Jack Hogan & Trakal*, Deborah Joyce Holman & Yara Dulac Gisler*, Klára Hosnedlová*, Satch Hoyt, Hypercomf*, Yinka Ilori*, Astrit Ismaili*, Tomashi Jackson, Huntrezz Janos*, Olalekan Jeyifous*, Evi Kalogiropoulou, Samson Kambalu, Lito Kattou*, KAYA, Navine G. Khan-Dossos*, Nuri Koerfer, Ndayé Kouagou*, Aristeidis Lappas, Kris Lemsalu & Kyp Malone*, Marissa Malik & Yeshe Bahamon-Beesley*, Rodney McMillian, Steve McQueen, Ana Mendieta, Meleko Mokgosi, Moor Mother*, Petros Moris, Zanele Muholi, Nascent*, Kayode Ojo, Omsk Social Club*, Zohra Opoku, Vasilis Papageorgiou*, Nektarios Pappas*, Ebony G. Patterson, Primitive Art*, Yorgos Prinos, Kameelah Janan Rasheed, Andrew Roberts, Victoria Santa Cruz, Jacolby Satterwhite, Jonas Schoeneberg*, Erica Scourti, Paul Mpagi Sepuya, Jakob Kudsk Steensen, Juana Subercaseaux, Valinia Svoronou*, Taka Taka*, Ayesha Tan-Jones*, Filippos Telesto, The Critics Company, the Mycological Twist*, Hank Willis Thomas, Iris Touliatou*, Tourmaline, Suzanne Treister, Theo Triantafyllidis, Wu Tsang, Eugenia Vereli, Cajsa von Zeipel*, Julian Weber, YESSi PERSE*. *An asterisk denotes a new production or premiere. The artists participating in ECLIPSE inhabit a cluster of three neighbouring landmark venues in the historic centre of Athens: the former Department Store Fokas, the former Santaroza Courthouse, and Sina Hall. These closely knit emblematic ghost buildings portray various aspects and different eras of the Athenian urban landscape and its historic and cultural narratives. The former department store Fokas, the main venue of ECLIPSE, acts as a symbol of the bankruptcy of contemporary Greece and a possible post-capitalist era; its eight, formerly buzzing floors and still full of evidence of their commercial use, have been abandoned since 2013. The former Santaroza Courthouse in Justice Square opposite of Fokas is a classical building raised soon after the birth of the modern Greek Republic. It has served as the first state print house and then as a courthouse that tried, amongst others, the famous communist and Resistance partisan Nikos Beloyannis. Its stripped-bare shell has been sealed and muted for thirty years. Opposite to it rises the ghostly Sina Hall, an eclectic neo-baroque building, one of the oldest and largest buildings of Athens that was converted into offices and gradually got abandoned during the last 15 years.
Athens Biennale

Office: 23, Mavrommateon Street
104 34 Athens

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posted 12. Oct 2021

Tobias Hantmann. 3 Sets of Painting

10. Sep 202105. Nov 2021
TOBIAS HANTMANN. 3 SETS OF PAINTING 10.09.2021 - 05.11.2021 ZUR ERÖFFNUNG DER AUSSTELLUNG LADEN WIR SIE HERZLICH EIN. FREITAG, 10. SEPTEMBER, 2021, 18.00 UHR Über die acht Wochen der Ausstellung wird zweimal neu gehängt, so dass insgesamt drei Konstellationen von Bildern zu sehen sind.
Bernd Kugler, Innsbruck

Burggraben 6 (Hörtnaglpassage)
A-6020 Innsbruck

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posted 11. Oct 2021

daniel buren - new grids: bas-reliefs, situated works and in situ, 2021

23. Aug 202123. Oct 2021
23.08.2021 - 23.10.2021 daniel buren - new grids: bas-reliefs, situated works and in situ, 2021 Nara Roesler São Paulo is pleased to announce New Grids: Bas-reliefs, situated works and in situ, 2021, a solo exhibition by Daniel Buren presenting all new works. This show marks the artist’s third exhibition at the gallery, and will be inaugurated on August 23, remaining on view through 23 October, 2021. On the occasion of the presentation, curator Luiz Camillo Osorio has conducted an interview with Daniel Buren, which will be made available to the public upon the inauguration of the exhibition. Daniel Buren is one of the most important artists of his generation, with an oeuvre that revolutionized the artistic field in the 1960s. Since then, Buren has been a leading name of conceptual art as a founding member of the Buren, Mosset, Parmentier, Toroni association, and remains thus to this day. He is best known for using symmetrical white and colored stripes that integrate visual surfaces and architectural spaces, notably in historical landmarks. Importantly, Buren began his artistic career by producing unsolicited public works, which made use of striped awning textiles commonly found in France. He subsequently placed thousands of striped posters throughout Paris (in 1967/68), and then inside over one-hundred different metro stations in the city. Since then, the artist has continued to incorporate stripes in his production, becoming a signature technique that has also been included in iconic permanent installations such as his work for the Palais-Royal in Paris, France (1985-1986). Throughout his trajectory, Daniel Buren has created thousands of ‘in situ’ installations throughout the world. Most of these works are destroyed following their exhibition, meaning that their existence becomes circumscribed to the time and place for which they were conceived. This aspect of the artist’s practice notably reveals the highly regenerating nature of his production, as it is continuously reinvented with every new project. Buren has participated in over 2400 exhibitions, including two editions of the Bienal de São Paulo (1983 and 1985), as well as numerous editions of the Biennale di Venezia, and Documenta in Kassel. His works are part of major museum collections worldwide, including the Centre Pompidou in Paris, France; the Museum of Modern Art (MoMA), in New York; and Tate Modern in London, amongst others. His most recent works function as architectural instruments that establish a dialogue with pre-existing architecture, and that engage in a process of spatial alterations, playful juxtaposition of materials and chromatic explosions. On the occasion of this exhibition, Buren has created a series of works through which he investigates the properties of colors and materials -such as bronze, aluminum, mirror, brass and acrylic- in relation to space. Though all works follow the same compositional principles, their material and chromatic make up allow for different reflexive possibilities, creating diverse forms of dialoguing with space, light and color within the same place. The works also include Buren’s iconic black and white stripes, which evoke his most characteristic visual strategy and recall the artist’s initial artistic intention whereby he sought to achieve absolute neutrality. Ultimately, New Grids: bas-reliefs, situated works and in situ, 2021, presents works that synthesize the long-standing questions, techniques and material addressed in Buren’s practice at different stages in his career. The exhibition will thus offer an opportunity to delve into the work of this seminal artist who continues to renew his practice, constantly expanding and challenging the matter of perception. Daniel Buren has been a leading name in conceptual art since the 1960s, as a founding member of the Buren, Mosset, Parmentier, Toroni association, and remains thus to this day. He is best known for using symmetrical white and colored stripes that integrate visual surfaces and architectural spaces, notably in historical landmarks. On the occasion of this exhibition, Buren has created a series of works through which he investigates the properties of colors and materials—such as bronze, aluminum, mirror, brass and acrylic—in relation to space. Though all works follow the same compositional principles, their material and chromatic make up allow for different reflexive possibilities, creating diverse forms of dialoguing with space, light and color within the same place. Ultimately, New Grids: bas-reliefs, situated works, 2021, presents works that synthesize the long- standing questions, techniques and material that Buren has investigated at different stages in his career, offering an encounter with a practice that engages with the public’s sensibilities, and continuously proposes new forms of challenging perceptions. Nara Roesler is a leading Brazilian contemporary art gallery, representing seminal Brazilian and international artists who emerged in the 1950s as well as preeminent mid-career and emerging artists who dialogue with the currents put forth by these historical figures. Founded by Nara Roesler in 1989, the gallery has consistently fomented curatorial practice while upholding the utmost quality in art production. This has actively been put into practice through a select and rigorous exhibitions program created in close collaboration with its artists; the implementation and fostering of the Roesler Hotel program, a platform for curatorial projects; and continued support to artists beyond the gallery space, working with institutions and curators in offsite shows. In 2012, the gallery doubled its São Paulo exhibition space, in 2014 it expanded to Rio, and in 2015 it opened in New York City, continuing its mission to provide the best platform for its artists to show their work.


Daniel Buren 
Nara Roesler, Sao Paulo °

Avenida Europa 655
01449-001 Sao Paulo

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posted 10. Oct 2021

R. H. Quaytman. Wiertz's Revolt, Chapter 0

10. Sep 202109. Jan 2022
10.09.2021 - 09.01.2022 **R. H. Quaytman. Wiertz's Revolt, Chapter 0** Curators: Devrim Bayar & Dirk Snauwaert With the generous support of: Gladstone Gallery R. H. Quaytman explores the painter Antoine Wiertz and his personal museum at WIELS For her monographic exhibition at WIELS, R. H. Quaytman explores Brussels’ cultural and artistic history and, more specifically, the relationship to power of some of the artists with whom she shares an affinity, such as Magritte and Broodthaers. In her preparatory research, Quaytman came across the painter Antoine Wiertz and his personal museum, which is now nestled in the heart of the European Quarter. With its unique and spectacular hanging, this museum bears witness to the golden age of monumental painting, which was in the throes of decline in the face of photography and film. Wiertz sought to compensate for this waning with an overabundance of moralising subjects condemning injustice and inequality. He depicted chilling scenes of poverty, war, suicide, or cholera. Now all but forgotten, Wiertz’s work and exuberant museum-sanctuary provide a starting point for Quaytman’s investigation into the possibilities of painting in the context of the photographic image, seen through the prism of Wiertz’s work, which teems with suggestive male bodies while displaying a genuine empathy for the condition of women. R. H. Quaytman reinvents the production of pictorial images in today’s digital age, reinstating them within the context of art history and of painting in particular, reasserting their materiality and spiritual scope, and deconstructing prevailing narratives from a feminist and intersectional point of view. Her strategies are pictorial, photographic and conceptual, leading to the development of complex groups of works she titles as chapters. Composing each of her exhibitions in relation to a local reference, Quaytman builds her series as a narrative structure that shapes the overall organisational principle and the mode of execution of the individual works. The choice of [Antoine Wiertz’s] subject matter suggests a revolutionary ideological orientation supporting the emancipation of women and the poor, and placing the blame at the feet of the military, the state and the rich — although his works on these subjects are displayed to the side of his gargantuan attempts to attain La Gloire. - R. H. Quaytman * R. H. Quaytman lives and works in Connecticut (USA). Her works have been shown around the world, from the 2010 Whitney Biennial to the 2011 Venice Biennial, and Kassel’s Documenta 14 (2017). She has had numerous solo exhibitions, notably at the Serralves Museum, Porto; Muzeum Sztuki, Łódź; the Solomon R. Guggenheim Museum, New York; the Secession, Vienna; the Museum of Contemporary Art, Los Angeles; the Tel Aviv Museum of Art; and the Renaissance Society, Chicago.
WIELS Contemporary Art Centre, Brussels

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

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posted 09. Oct 2021

MOMENTA 2021 "Sensing Nature"

08. Sep 202124. Oct 2021
MOMENTA 2021 Biennale de l'image Sensing Nature 17th edition September 8–October 24, 2021 MOMENTA Biennale de l’image is delighted to announce the full list of artists participating in the 17th edition from September 8–October 24, 2021. Under the title Sensing Nature, curator Stefanie Hessler in collaboration with Camille Georgeson-Usher, Maude Johnson, and Himali Singh Soin consider environmental justice and its intersections with social justice as a matter of sensing and feeling as much as of analysis and grassroots activism. The biennale doesn’t offer a toolkit for action but considers various love potions from which we can think and feel different arrangements of planetary coexistence. The artists in Sensing Nature invite us to forge intimate kinships with nonhuman life-worlds that dwell in the blurred boundaries between technology and ancestral wisdoms. They propose that we listen—and observe, smell, touch, speak—to the land, the water, the air not with the aim of distantly understanding, grasping, or exploiting, but to resonate, to vibrate, to be together. The biennale will gather 51 artists from 24 different countries through 15 exhibitions, including an Indigenous-led garden project and an outdoor circuit of augmented reality artworks. Artists: Frances Adair Mckenzie (b. Canada), Abbas Akhavan (b. Iran), alaska B (b. Canada), Scott Benesiinaabandan (Anishinaabe, b. Canada), Jen Bervin (b. United States), Anna Binta Diallo (b. Senegal), Charlotte Brathwaite (b. United Kingdom), Carolina Caycedo (b. United Kingdom), Julien Creuzet (b. France), Léuli Eshrāghi (Sāmoa, b. Australia), Maryse Goudreau (b. Canada), Ayesha Hameed (b. Canada), Taloi Havini (Nakas Tribe Hakö, Autonomous Region of Bougainville, Papua New Guinea), Ts̱ēmā Igharas (Tāłtān, b. Canada), Lisa Jackson (Anishinaabe/Aamjiwnaang, b. Canada), Anne Duk Hee Jordan (b. Korea), Hamedine Kane (b. Mauritania), Adam Khalil (Ojibway, b. United Snakes), Zack Khalil (Ojibway, b. United States), Kite (Oglála Lakȟóta, b. United States), Lara Kramer (Oji-Cree/Mennonite, b. Canada), Gabrielle L’Hirondelle Hill (Metis), Kama La Mackerel (b. Mauritius), Candice Lin (b. United States), Chloë Lum & Yannick Desranleau (b. Canada), Malik McKoy (b. Canada), Alex McLeod (b. Canada), Caroline Monnet (Anishinaabe/French, b. Canada), Peter Morin (Tāłtān), Sandra Mujinga (b. Democratic Republic of the Congo), faye mullen (2S/Queer mixed Anishinaabe/Irish/Italian), Thao Nguyen Phan (b. Vietnam), Jeneen Frei Njootli (Vuntut Gwitchin), Laura Ortman (White Mountain Apache, b. United States), James Oscar (d. Trinidad, b. Canada), Jackson Polys (Tlingit, b. United States), Sabrina Ratté (b. Canada), Tabita Rezaire (b. France), Jamilah Sabur (b. Jamaica), Beatriz Santiago Muñoz (b. Porto Rico), Susan Schuppli (b. Canada), Tejal Shah (b. India), Erin Siddall (b. Canada), Miriam Simun (b. United States), P. Staff (b. United Kingdom), Eve Tagny (b. Canada), Joce TwoCrows Tremblay (Greak Lakes métis), Tania Willard (Secwépemc), Susanne M. Winterling (b. Germany), T’uy’t’tanat-Cease Wyss (Sḵwx̱wú7mesh/Stó:lō/Hawaiian/Swiss, b. Canada) Exhibition partners: Bibliothèque et Archives nationales du Québec, Centre CLARK, Darling Foundry, Diagonale, Galerie B-312, Galerie de l’UQAM, Leonard & Bina Ellen Art Gallery, McCord Museum, Montreal Museum of Fine Arts, Musée d’art contemporain de Montréal, Occurrence, OPTICA, PHI Foundation for Contemporary Art, Toronto Biennial of Art, VOX, centre de l’image contemporaine Sponsors: Canada Council for the Arts, Conseil des arts et des lettres du Québec, Conseil des arts de Montréal, Gouvernement du Québec, Government of Canada, Ville de Montréal, Institute for Foreign Cultural Relations (Germany), Institut français, Consulat général de France à Québec, Office for Contemporary Art Norway
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posted 08. Oct 2021

Rebecca Horn

28. Sep 202123. Jan 2022
Rebecca Horn 28.09.2021 – 23.01.2022 Rebecca Horn zählt zu den außergewöhnlichsten und vielseitigsten Künstlerinnen ihrer Generation. Das Bank Austria Kunstforum Wien widmet ihr die erste umfassende Werkschau seit knapp 30 Jahren in Österreich. Der Schwerpunkt der Ausstellung liegt auf der medialen Verflechtung der unterschiedlichsten Genres im Werk Rebecca Horns und soll einen weitreichenden Einblick in ihre künstlerische Praxis geben. Bekannt wurde Rebecca Horn 1972 als jüngste Teilnehmerin der epochemachenden documenta 5 unter dem Titel Individuelle Mythologien – kuratiert von Harald Szeemann. Mit ihren frühen Körperinstrumenten und Performances, über ihre Spielfilme und kinetischen Skulpturen bis hin zu ortsspezifischen Installationen, aber auch mit ihren intimen Zeichnungen und Gedichten ist Rebecca Horns Œuvre mehr als facettenreich. In ihrer mittlerweile fünfzig Jahre andauernden Praxis hat die Künstlerin einen ihr eigenen, symbolisch aufgeladenen Kosmos geschaffen, in dem Realität und Fiktion ineinander übergehen. Dualismen wie Materie/Geist, Subjekt/Objekt, oder weiblich/männlich werden hier überschritten. Ihr Arbeiten ist ein wachsendes Geflecht aus Objekten, Motiven und Themen, die von der Künstlerin immer wieder neu aufgegriffen werden. Sie knüpft dabei zahlreiche Beziehungen zu Kunst-, Literatur- und Filmtraditionen – ebenso wie zur Mythologie und Märchenwelt. Kuratorin: Bettina M. Busse


Rebecca Horn 
Kunstforum Wien

A-1010 Vienna

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posted 07. Oct 2021

Rayyane Tabet: Deep Blues

12. Jun 202124. Oct 2021
Rayyane Tabet: Deep Blues June 12–October 24, 2021 Trained as both an architect and a sculptor, artist Rayyane Tabet (b. 1983, Ashqout, Lebanon; lives and works in Beirut and San Francisco) investigates peculiarities of the built environment through multifaceted installations that play with the perception of physical and temporal distance. Weaving together personal stories with official accounts, Tabet’s works often provide another lens with which to view the past as well as its unexpected connections to the present. For his first commission at a US museum, Tabet has created a new installation focused on the intersections of architecture, design, and technology. His research began with a site visit to the former IBM facility in Rochester, Minnesota. Designed in the 1950s by architect Eero Saarinen, the building was emblematic at the time of the midcentury shift from industrial to postindustrial labor in the United States. From there, the artist unraveled a web of connections within the history of the company that includes Saarinen, architect Edward Larrabee Barnes (who designed the Walker’s 1971 building), and designers Paul Rand and Charles and Ray Eames. Informed by this research, Rayyane Tabet: Deep Blues includes a multipart sculptural, light, and sound installation and expands beyond the space of the gallery via a site-specific architectural intervention. In an echo of the famous two-toned blue IBM Rochester building, Tabet has transformed the Walker's 60-foot-long wall of glass windows into a transparent blue landscape—superimposing Saarinen’s patterned design onto the Walker’s facade. The gallery, bathed in blue light, cycles through the ten shades of IBM’s corporate color spectrum. Decommissioned IBM Eames chairs are suspended from the ceiling in a kind-of memory theater. A sound piece, performed by an artificial intelligence trained to read a script, mirrors the modulations of the artist’s voice. Ultimately, Tabet creates a probing space that blurs the boundaries between dematerialization, identity, and objecthood. Curators: Victoria Sung, associate curator, Visual Arts; with William Hernández Luege, curatorial fellow, Visual Arts Rayyane Tabet: Deep Blues is made possible by generous support from the Edward R. Bazinet Foundation and RBC Wealth Management.


Rayyane Tabet 
Walker Art Center, Minneapolis

WAC | 725 Vineland Place
MN-55403 Minneapolis

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posted 06. Oct 2021


02. Oct 202109. Jan 2022
2. OKTOBER 2021 - 09. JANUAR 2022 **GREGOR SCHNEIDER. EGO-TUNNEL** Mit Ego-Tunnel von Gregor Schneider eröffnet der neue „Contemporary Art Space“ Konschthal Esch in Luxemburg. Es ist die erste Solo-Ausstellung des für seine radikalimmersiven „Räume“ bekannten deutschen Künstlers im Großherzogtum. Wenige Monate bevor Esch an der Alzette Europäische Kulturhauptstadt 2022 wird, präsentiert Luxemburg mit der Konschthal einen radikal neuen Ausstellungsort. Die Eröffnungsausstellung Ego-Tunnel ist ein programmatisches Statement, das die Ausrichtung der Kunsthalle als einen Ort der permanenten Transformation positioniert. Der als „Raum-Sammler“ bekannte Künstler Gregor Schneider greift für die Kunsthalle Elemente seines künstlerischen Gesamtwerkes als Solo-Show auf. Schneider verwandelt die ihm zur Verfügung gestellten, entkernten Räume aus Sichtbeton in einen aufwendig gestalteten Parcours. Die 2.400 m2 große Kunsthalle – ein ehemaliges, teilsaniertes Möbelhaus –ist für Schneider eine unfertige und damit extrem wandelfähige „Projektionsfläche“. Die Installation und Anordnung der Räume bilden ein autark funktionierendes, architektonisches Ensemble, sodass der Baustil der Konschthal selbst durch das von Schneider bespielte Raum-imRaum-Konzept in den Hintergrund tritt. „Die Arbeit ist als wandere man durch die Schichten und Schalungen seines eigenen Gehirns, und gehe dort den Mechanismen der Wahrnehmung und des Wissens nach.“ Gregor Schneider Schneiders Eröffnungsausstellung Ego-Tunnel bietet eine Abfolge von 20 Räumen, in denen die BesucherInnen über Treppen und einen Fahrstuhl unterschiedliche Schlüsselwerke aus Schneiders künstlerischem Gesamtwerk erkunden. Mit Präsentationen seiner Filme, Fotografien, Skulpturen und anderer Objekte versammelt der Parcours in Schneiders Ego-Tunnel rund 100 seiner Werke und ermöglicht BesucherInnen das Schneider-Universum zu entdecken.

29-33 boulevard Prince Henri
L-4280 Esch-sur-Alzette

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posted 05. Oct 2021

Hito Steyerl: Factory of the Sun

06. Aug 202131. Dec 2021
Friday, August 6, 2021–Saturday, December 31, 2022 **Hito Steyerl: Factory of the Sun** Organized by Kathryn Wade, assistant curator. Capacity limited to 20 visitors in gallery. SJMA presents the landmark installation Hito Steyerl’s Factory of the Sun (2015), a joint acquisition between the Hammer Museum in Los Angeles, the Museum of Contemporary Art in Chicago, and SJMA. The critically acclaimed, immersive video debuted at the 2015 Venice Biennale. It is inspired by a quote from Donna Haraway’s Cyborg Manifesto (1985), describing machines as “made of pure sunlight.” In the video, Steyerl explains: “Our machines are made of pure sunlight. Electromagnetic frequencies. Light pumping through fiberglass cables. The sun is our factory.” The premise of machines made of pure sunlight is not a romantic one for the Berlin-based artist. Steyerl has long attuned herself to the power of image and their reproduction, particularly documentary images, to manipulate our worldview. Factory of the Sun tells a surreal story of workers whose forced dance moves in a motion capture studio are turned into artificial sunshine. The story is based on an actual YouTube phenomenon (her studio assistant’s brother whose viral homemade dance videos were used as a model for Japanese anime characters) and a news story about an experiment at CERN nuclear research facility that claimed to have measured a particle traveling faster than the speed of light. On screen, Steyerl interweaves fact and fiction; a montage of YouTube dance videos, drone surveillance footage, real documentation of recent international student uprisings combines with video game characters, fake news, and dancing, gold lamé-costumed avatars. In this imaginative reality spun from Haraway’s theory, the motion capture studio’s glowing grid of blue LED lights extends beyond the screen into the gallery, like a Star Trekkian “holodeck” able to materialize a different world in three dimensions. Modern warfare, corporate culture, and anti-capitalist resistance movements are played out by disembodied characters—avatars, bots, or proxies for the human viewers who watch the video from the vantage of reclined beach chairs.


Hito Steyerl 


Kathryn Wade 
San Jose Museum of Art

110 South Market Street
CA-95113 San Jose / CA

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