daily recommended exhibitions

posted 15. Aug 2022

Ben Vautier - Ben

24. Jun 202220. Aug 2022
Ben Vautier - Ben 24 june - 20 august 2022 We are happy to announce the opening of the exhibition of Ben. Join us for the opening Thursday 23rd June, from 6 pm ! For Ben The times are amnesic. It celebrates those who “perform” repeatedly, suggesting that they are thwarting the system. More than an exposure without the presence of the body. More than a project without a multidisciplinary dimension. More than a demonstration without reconciliation of opposites. Art is everywhere and every appointment is there to prove it. The dissensus is damaged in complacent representations. The misfortunes of the world are portrayed with the idea of being witnesses and accusers. The good conscience does its job and that’s it. Ben Vautier sees the world differently. Sixty years since he writes to us and sends us back to our vain vanities. Sixty years since he has been fencing and expressing himself, struggling and igniting himself in a jumble of tragedy and farce, suffering and joy, pros and cons. Praise of the difficulty of being oneself, self-criticism of the ego, aphorisms of all kinds. Ben is there, between truth and lies, between impertinence and wisdom. Ben is a necessary artist. From the late 1950s to today, Ben has been directing and staging himself in a world that fears and amuses him. Ben is vociferous and stormy. He writes and apostrophes. He gestures and speaks loudly. He is knowing and popular. Ben is probably one of the most extraordinary human beings I have ever known. From all this, from this daily struggle against himself and the ever-evolving time, Ben makes artworks like no other, artworks that are recognizable among all. Familiar and inventive. Artworks that resemble him and in which everyone, one day in his life, recognized and found themself. We all have something of Ben Vautier in us, as Ben Vautier tells us something about ourselves, about our misery and joys, about our fears and vanities, about our desires and failures. In short, Ben is the only man in search of the truth, probably a moralist. Never a moralizing person. You always must look at Ben’s work over and over again. It is necessary to follow its course and its metamorphoses. You should see him trying to build his language. “I would draw shapes that I would throw away if I could find their source of influence,” he wrote about his early work. We must hear him looking for “a beginning of personality” when the shape of the Bananas appeared in 1957. And then come the Lines, the Tasks, the Sculptures of Objects, the Suspended Objects, the Vomit, the Imbalance, the Holes, the Living Sculptures, the Lack and the All...1. The All like the search for reality in its totality, the All so that nothing escapes it. Between decoy and control. Probably a superb definition of creation. Because Ben is a creator. The word seems to be overused and suits him well. A creator who exposes, signs, and sells God, his rival, at any price. A creator who runs and does justice to vague Terrains. A creator who shapes words and invents, as his friend Jon Hendricks says on this matter Ben’s “Full Striptease”, a word painting. And then there are the Gestures which, beyond the “actions” - or “Aktion”, if you want to make it Germanic and knowing - beyond the “Performances” and other “Happenings”, the “Events” of George Brecht with whom they have a tender affinity, are the very expression of life in all its states, of the body in all its manifestations: “Banging my head against a wall”, “Spitting”, “Shining other people’s shoes”, “Digging a hole and selling dirt”, “Urinating”, “Getting into the water dressed with an umbrella”, “Painting me”, “Fighting me”...) 2, if I may only name a few. To say everything, to do everything, never to stop, never to know a break. The body, his body, mine, yours in all its forms to never stop fighting against the inevitable. Ben, never out of the game. Ben, “our contemporary”, in the absolute urgency to be and to leave traces. To never disappear. Bernard Blistène 1 French translation : les Lignes, les Tâches, les Sculptures d’Objets, les Objets suspendus, le Vomis, le Déséquilibre, les Trous, les Sculptures vivantes, le Manque et le Tout... 2 French translation : « Me cogner la tête contre un mur », « Cracher », « Cirer les chaussures des autres », « Creuser un trou et vendre de la terre », « Uriner », « Rentrer dans l’eau tout habillé avec un parapluie », « Me peindre », « Me battre »...


Ben Vautier 
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posted 14. Aug 2022

Nicole Wermers - Reclining Fanmail

29. May 202231. Aug 2022
Nicole Wermers Reclining Fanmail 29.05.–21.08.2022 In den Arbeiten von Nicole Wermers werden die Auseinandersetzung mit urbanem Raum und Überlegungen zur Formensprache der Moderne und ihren Materialien miteinander verbunden. Sie werden gleichermassen auf ihre soziologischen, ökonomischen und psychologischen Aspekte hin untersucht. Dies äussert sich in einem Interesse daran, wie durch reale und reproduzierte Materialien, Oberflächen und Räume Begriffe wie Begehren und Macht kommuniziert werden. Wermers Arbeiten entschlüsseln Strategien der urbanen Konsum- und Alltagskultur, wie zum Beispiel die Appropriation von Kunstgeschichte als einer Form von kulturellem Kapital, und verfolgen die Entwicklung von komplexen Erscheinungen der Moderne zu homogenen Designoberflächen. Für das Kunsthaus Glarus hat Nicole Wermers eine neue Werkgruppe erarbeitet, die sich der ‹Liegenden›, einem bekannten Motiv aus der Kunstgeschichte, widmet. Die Figuren rufen nicht nur die skulpturalen Äquivalente im öffentlichen Raum auf, sondern verweisen durch ihre Positionierung auf Reinigungswägen auch auf einen Zusammenhang, der meist am Rande des öffentlichen Lebens stattfindet. Die Care-und Maintenance-Arbeit. Durch ihre je individuelle Gestaltung werden die Reinigungswägen gleichzeitig zu skulpturalem Element als auch zum Sockel. In Kombination mit der ‹Liegenden› entsteht hier eine Situation, in der sich der weibliche Körper sowohl von seiner kunstgeschichtlichen Zuweisung, als auch der Maintenance-Arbeit eine Pause gönnt.
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posted 13. Aug 2022

New York: 1962-1964

22. Jul 202208. Jan 2023
22.07.2022 - 08.01.2023 **New York: 1962-1964** New York: 1962-1964 explores a pivotal three-year period in the history of art and culture in New York City, examining how artists living and working in New York responded to their rapidly changing world, through more than 150 works of art—all made or seen in New York between 1962-1964. New York: 1962-1964 uses the Jewish Museum’s influential role in the early 1960s New York art scene as a jumping-off point to examine how artists living and working in New York City responded to the events that marked this moment in time. Presenting works by Diane Arbus, Lee Bontecou, Chryssa, Merce Cunningham, Jim Dine, Martha Edelheit, Melvin Edwards, Dan Flavin, Lee Friedlander, Nancy Grossman, Robert Indiana, Jasper Johns, Donald Judd, Ellsworth Kelly, Yayoi Kusama, Norman Lewis, Roy Lichtenstein, Boris Lurie, Marisol, Agnes Martin, Louise Nevelson, Isamu Noguchi, Claes Oldenburg, Yvonne Rainer, Robert Rauschenberg, Faith Ringgold, Larry Rivers, James Rosenquist, Miriam Schapiro, Carolee Schneemann, George Segal, Jack Smith, Harold Stevenson, Marjorie Strider, Mark di Suvero, Bob Thompson, and Andy Warhol, among many others, the exhibition aligns with the years of Alan Solomon’s tenure as the Jewish Museum’s influential director. Solomon organized exhibitions dedicated to what he called the “New Art,” transforming the Jewish Museum into one of the most important cultural hubs in New York. During the timeframe explored in this exhibition, epoch-changing events—such as the Cuban Missile Crisis (1962), March on Washington for Jobs and Freedom (1963), and the assassination of President John F. Kennedy (1963)—fundamentally altered the social and political landscape of New York City, and the nation. An unprecedented economic boom broadened the array of available consumer goods, and an expanding media network introduced new voices into increasingly urgent conversations about race, class, and gender. Emerging in this context, a generation of New York-based painters, sculptors, dancers, filmmakers, and poets rose to prominence, incorporating material directly from their urban surroundings and producing works that were as rich and complex as the city itself. In conjunction with New York: 1962-1964, the Jewish Museum is partnering with Film Forum and Film at Lincoln Center. From July 22 to August 11, Film Forum presents 1962…1963…1964, which includes 35 films that showcase a moment in movie history that saw the last gasps of the Hollywood studio system. From July 29 to August 4, Film at Lincoln Center presents New York, 1962-64: Underground and Experimental Cinema, focusing on a rich period of truly independent cinema.
The Jewish Museum, New York

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

United States of Americashow map
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posted 12. Aug 2022

Nikita Chernoritsky. The Edge

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

25/1 Petrovka st.
107031 Moscow

Russian Federationshow map
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posted 11. Aug 2022

Italia - Zwischen Sehnsucht und Massentourismus

12. Mar 202219. Sep 2022
12.3. – 11.9.2022 | Reinhart am Stadtgarten **Italia - Zwischen Sehnsucht und Massentourismus** Die Ausstellung Italia lädt ein zu einer überraschenden Reise an den Sehnsuchtsort Italien. Dabei trifft das Arkadien vergangener Epochen auf die schonungslose Gegenwart: Anhand von über siebzig Werken von namhaften Künstlern wie Claude Lorrain, Arnold Böcklin und Anselm Feuerbach bis zur Kunst der Gegenwart wird ein komplexes Bild eines Landes gezeichnet, das uns bis heute fasziniert als Wiege westlicher Kultur ebenso wie als attraktive Reisedestination. Italien, «das Land, wo die Zitronen blühn», wie Goethe 1783 in seinem Lied der Mignon den Ort der Sehnsucht fasste, war über Jahrhunderte ein einzigartiger Anziehungspunkt für Kunstschaffende. Hier fand die Italiensehnsucht einen unvergesslich poetischen Ausdruck, in dem auch sein eigener Wunsch mitschwang, das Land zu bereisen. Schon seit der frühen Neuzeit übte die Wiege der Künste eine ausserordentliche Faszination auf die europäischen Künstlerinnen und Künstler aus. Michelangelo, Raffael und Leonardo galten als unumstrittene Höhepunkte und die Antike war hier wie nirgendwo anders unmittelbar erfahrbar. Italien war obligates Ziel für die klassische Bildungsreise von Adligen oder eines Gentleman aus gutem Hause. Literaten und Wissenschaftler folgten denselben Kulturpfaden. Vor allem aber waren es bildende Künstler, die in den Süden pilgerten, um die Vorbilder der Antike und Renaissance zu studieren und die lichtdurchflutete Campagna zu malen, oder sich gleich in der Ewigen Stadt niederzulassen. In Italien suchten sie nach Freiheit und Unabhängigkeit in einem umfassenden – künstlerischen und politischen – Sinn. Fernab von der gesellschaftlichen Enge der Heimat entwickelte sich ein lebhaftes Experimentierfeld, das besonders bei der Landschaftsdarstellung mit unterschiedlichsten Praktiken und Ausformulierungen von idealisierender Überhöhung bis zur naturalistischen Studie und reinen Pleinairmalerei seinen Ausdruck fand. Diese Bilder prägten während Jahrhunderten die Vorstellungen von Italien. Von den Bentvueghels des niederländischen Barock über die Klassizisten bis hin zu den Deutsch-Römern zog es Kunstschaffende mit immer wieder neuem Blick ins Bel Paese. Im 20. Jahrhundert änderte sich diese Sicht: Die einstmals noble Grand Tour wich dem Massentourismus, die Weltkriege führten zu einer kritischen Auseinandersetzung mit der eigenen Geschichte. Der idealisierte Sehnsuchtsort war einer nüchternen, unverstellten Betrachtung gewichen. Die Arte Povera unterlief in den 1960er Jahren mit einer radikalen Offenheit gegenüber Materialien und künstlerischen Praktiken die Vorstellungen klassischer Kunst und Kultur. Zwischen den Polen Natur und Kultur, Anarchie und Ordnung bewegend, stellten sie das über die Jahrhunderte idealisierte Bild ihrer Heimat auf den Kopf und befragten das Italien von damals mit einem neuen Blick und mit revolutionärem Geist. Das von aussen verklärt gesehene Land wurde nun von innen reflektiert betrachtet. Heute beleuchten Künstlerinnen und Künstler wie Monica Bonvicini und Luigi Ghirri ihre eigene Heimat in schonungsloser Direktheit. Aus Anlass der Ausstellung Italia wird im Obergeschoss des Reinhart am Stadtgarten unter dem Titel Nord – Süd erstmals eine umfangreiche Ausstellung zur Kunst seit den 1950er Jahren gezeigt. Hier trifft die Kunst des Südens, die unmittelbare Nachkriegsavantgarde mit der umfangreichen Arte Povera-Sammlung, auf Werke von Kunstschaffenden aus dem Norden, insbesondere aus Deutschland. Dort wurde Düsseldorf dank seiner Kunstakademie zu einem bedeutenden Gravitationszentrum der Kunst. Zu sehen sind in dieser Sammlungsausstellung Werke der bedeutendsten Vertreter der italienischen Nachkriegsavantgarde wie Lucio Fontana, Mario Merz, Marisa Merz und Luciano Fabro neben herausragenden Künstlerpersönlichkeiten aus dem deutschsprachigen Raum wie Gerhard Richter, Imi Knoebel und Isa Genzken. Die Präsentation ermöglicht einen vertieften Einblick in zwei Schwerpunkte der Winterthurer Sammlung.
Kunst Museum Winterthur

Museumstrasse 52
CH-8400 Winterthur

Switzerlandshow map
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posted 10. Aug 2022

Wael Shawky - Dry Culture Wet Culture

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


Wael Shawky 
Museum Leuven

Leopold Vanderkelenstraat 28
B-3000 Leuven

Belgiumshow map
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posted 09. Aug 2022

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

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


Lu Pingyuan 
OCAT Shenzhen / Shanghai

F2 Building, Enping Road, Nanshan District

Chinashow map
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posted 08. Aug 2022

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

20. Jul 202210. Sep 2022
20.07-10.09.2022 **Irina Gheorghe. Things Which Are Not Here, of Which We Cannot Say** We invite you on Wednesday, July 20, between 7-10 pm, to the opening event of Irina Gheorghe’s first solo show in Romania, “Things Which Are Not Here, of Which We Cannot Say.” At 8 pm the artist’s live performance “Preliminary Remarks on the Study of What Is Not There” will take place inside the exhibition space. Irina Gheorghe’s project is based on her PhD research concluded in 2021 at GradCAM / Technological University Dublin, “Treason of the Senses: Practices of Estrangement or How Art Speaks of What Is Not There.” Her study questions the connections between art, philosophy, and science in researching unobservable realities and the role that artistic techniques of estrangement – methods through which common experience becomes unfamiliar – can play inside this process. The project has been exhibited since 2018 in various international venues and contexts, in a series of exhibitions and performances that evolve and develop intertwined in time and space, each event generating the coordinates of the following one: 2018 “Preliminary Remarks on the Study of What Is Not There,” Romanian Cultural Institute Berlin, 2019 “All the Things Which Are Not Here,” Swimming Pool Sofia, Bulgaria, 2020 “Betraying the Senses, or How to Speak of What Is Not There,” Project Arts Centre Dublin, Ireland, 2021 “Methods for the Study of What Is Not There,” Künstlerhaus Bremen, Germany. For the project’s first Romanian presentation, Irina Gheorghe has created a site-specific installation that recollects and integrates past elements and previous occurrences in order to approach what is not present inside Ivan Gallery’s space. Each iteration of the artist’s intervention brigs forth an extra feature in regards to the previous one, thus besides the mural drawings in adhesive tape, the photographs, and the performance, the display showcases the new series of collages which give the title of the exhibition, “Things of Which We Cannot Say.” “Preliminary Remarks on the Study of What Is Not There” is a performance evolving since 2017 in accordance to each of its occurrences. In it, the artist traces through body language and voice an imaginary map, a guided tour among the things which are not present in space, which have appeared, or not, in its previous instances. Besides a certain amount of improvisation, the performance score is partially directed by the mural site-specific tape installation, “All the Things Which Are Not There” (2018-present), colourful drawings which sort out and place in space various degrees of the ‘unobservable’, including fragments of the shapes taken by these invisible maps in the project’s past instances. Their purpose is not to make present things which are absent, but rather to test the capacity of this personal language of signs and gestures to communicate, to broadcast an invisible dimension. Some sequences of corporeal movements and gestures from previous performances are recorded in the series of photographs “Methods for the Study of What Is Not There” (2019-present), in which actions of measuring and classifying various degrees of ‘absence’ are confronted to the absence specific to the transient nature of the live event. In the audio piece “Routes to What Is Not There” (2020), the movement followed by the performance among unobservable entities is being transferred to the visitors, who are being invited to trace their own map by following a series of instructions. The exhibition space thus becomes the meeting point of multiple maps of absence, not only due to the works present in space, but also through the collective trajectories of invisible routes. Irina Gheorghe (b. 1981, Romania) works primarily with performance, in combination with drawing, installation, photography or video, to address the tensions which appear in the attempt to speak about things beyond our possibilities of observation, from extraterrestrial life to hypothetical planets. Irina also works as part of the artist duo The Bureau of Melodramatic Research to investigate how passions shape contemporary society, as well as our affective relationship to a non-human universe. Her work was shown at Künstlerhaus Bremen, Grazer Kunstverein, Project Arts Centre Dublin, Swimming Pool Sofia, Changing Room Berlin, Romanian Cultural Institute Berlin, Zona Sztuki Aktualnej Szczecin, Centre Culturel Irlandais Paris, Centre for Contemporary Art Derry, Chapter Thirteen / Glasgow International, Dublin City Gallery The Hugh Lane, HOME Manchester, Salonul de Proiecte Bucharest, CAC Vilnius, TRAFO Budapest, Savvy Contemporary Berlin, Pratt Manhattan Gallery New York, Times Museum Guangzhou, MNAC Bucharest, Skolska 28 Prague, BAK Utrecht, DEPO Istanbul, Galeria Posibila Bucharest, etc. In 2021 Irina has concluded her PhD in practice at GradCAM, supported by the Technological University Dublin. She is based in Berlin. The exhibition “Things Which Are Not Here, of Which We Cannot Say” can be visited in Ivan Gallery’s space inside Atelierele Malmaison on Calea Plevnei 137C, B side, 1st floor, until the 10th of September 2022, Thur-Sat 3-7 pm, or by appointment outside the visiting hours. Special thanks to: Rafaela and Vera Malic, Declan Clarke, Jamie Lemoine, Nadja Quante, Ioana Gheorghiu and the Cabinet 44 team (Virginia Toma, Ramon Sadîc, Adelina Ivan), Cristina Vasilescu, Kristin Wenzel, Laurențiu Coțac, Larisa Crunțeanu, Elena and Ștefan Gheorghe, Adrian Gheorghe, Cristina Rădulescu and Eva.
Ivan Gallery, Bucharest

Dr. Dimitrie Grecescu 13
050598 Bucharest

Romaniashow map
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posted 07. Aug 2022

Fugues in Color

04. May 202229. Aug 2022
May 4–August 29, 2022 **Fugues in Color** The exhibition Fugues in Color brings together five painters from the international art scene, all from different backgrounds and generations: Sam Gilliam, Katharina Grosse, Steven Parrino, Megan Rooney, Niele Toroni. Through their own abstracted vocabularies, they push the traditional limits of the pictorial medium. Painting leaves the restricted field of the stretched canvas, discovering a new freedom in the color/support relationship, extending into space, across floor, wall, and ceiling. As variations on the expansion of color, the works brought together here engage in close dialogue with the architecture of Frank Gehry. In addition to the group of works by Sam Gilliam, Steven Parrino, and Niele Toroni, which include major loans, both private and from public institutions, Katharina Grosse and Megan Rooney have each created new ephemeral pieces for the exhibition. Gallery 8: Megan Rooney A multidisciplinary artist, Megan Rooney combines painting, sculpture, performance, and writing in a single work. For her, the act of painting is an immense physical and mental commitment that culminates in her monumental canvases, as here in With Sun, an original, ephemeral mural created especially for Gallery 8, connecting the full height of the wall. To create the work, equipped with various tools and with the help of an elevated platform, Rooney, embarked on a long-term performance that continued over several weeks. As is always the case with the artist, the work was constructed in close dialogue with the architecture, without any preparatory sketches. Day after day, the layers of paint accumulate. The artist, then, uses an abrasive disc on the surface, bringing to the fore abstract configurations. Here, Rooney explores the density of a brilliant, rich, and colorful palette, dominated by shimmering shades and variations of orange, mauve, yellow, green, pink, even pastel tones. Inspired by the particularities of the space open to the sky, the artist has created a painting informed by the connection to the surrounding nature—a constant catalyst in her work—in harmony with the luminous modulations of spring sunlight and its vibrations that flood the space. Gallery 9: Sam Gilliam, Steven Parrino Sam Gilliam is a major figure in postwar American painting. His work is associated with the Washington Color School, a branch of Color Field painting that developed in New York in the 1950s. In 1968, he began the Drape paintings, through which he defined a new pictorial language, and explored the potential of the surface and the expansion of the color field. The three monumental works shown here are characteristic of this series, which marks both the complete abandonment of the stretcher and the advent of a painting whose form unfurls each time according to the architectural particularities of the exhibition space. In his studio, Gilliam works on canvas laid out on the floor, on to which he pours heavily diluted acrylic pigments that he then dabs, rubs, or presses with brushes and rags. In the stream of colors that flow across both faces of the folds, in the hollows and curves, random forms appear—flat areas, lines, drips, traces, and other imprints—constructed at that moment. When the canvas is saturated, the artist manipulates it, folding and crumpling it, rolling it up, before leaving it to dry. Sometimes he adds aluminum powder and applies acrylic paint here and there, creating effects of matter and texture that contrast with the flat surface impregnated with colors. In a second step, the canvas is knotted at several points before being suspended freely in the space, between floor, wall, and ceiling. In this new installation, the lyrical, vibrant power of color redefines Frank Gehry’s architecture, in a tension between order and disorder. Overturning the boundaries between painting and sculpture, Steven Parrino freed the canvas from its flatness, taking color out of the frame and letting it flow into space. The works presented here belong to the series of misshaped canvases that the artist began developing in 1981. Steven Parrino defined the process for realizing his works in advance: once the support and dimensions were decided, he painted the surface in a uniform way—with acrylic, a spray can, with enamel paint, or lacquer. He then carried out a series of violent actions: unframing, tearing, twisting, and crumpling the painted support, then refixing it on the stretcher, often after retouching it. These interventions shift painting’s two-dimensional surface to the three-dimensionality of relief and sculpture. In addition, the artist’s significant physical involvement in the process gives the works a performative character. On the wall, the canvases of four tondi and a pierced square were carefully painted before being manipulated to create vortex effects in relief. On the floor, two installations of crumpled canvas become sculptures. At the inter-section of high and low culture, here Parrino chose brilliant colors, selected just as much for their symbolic meaning. Gallery 11: Niele Toroni An artist known for his nomadic, beyond-the-frame practices, making his imprints indoors and out, Niele Toroni redefines the spaces he occupies by adapting his works to the exhibition site. Since 1966, he has been creating monochrome imprints with flat brushes, 5 cm wide, which he applies to a given surface at regular intervals of 30 cm. Even though this “painting-work” is the result of an identically repeated gesture, each imprint is different, varying depending on the quantity of paint, the force of the gesture, the type of support, its form, and the color chosen. Toroni is present here with a group of works created between 1967 and 1997, which are testament to the diversity of his supports. The waxed canvas the artist used early in his career allowed him to extend the imprints in relation to the size of the wall. Cut to requirements, the location informed how much paint was visible. With Flambo, a brand of displays used in home decor stores, Toroni placed his different colored imprints on the movable panels that make up the object, while Hommage aux hirondelles (Homage to the swallows) is placed high in an angle, like a bird’s nest. The tondi with the “reds” of Bordeaux stem from the imprints the artist made on wine barrels. The four paintings forming a whole each feature different colored imprints: red, yellow, blue, black. The color gives rhythm to each canvas of this pictorial score. Gallery 10—Katharina Grosse Since the late 1990s, Katharina Grosse has been exploring the potentialities of painting far beyond the limits of frame or canvas. Embracing floors, walls, ceilings, objects, or entire landscapes, she creates multidimensional pictorial sites thanks to the color projection technique that has become her signature, the spray gun. Color is at the center of her work, and is the link between them all. The question of scale, even the fusion of painting/architecture/sculpture recurs throughout her work, as in this project conceived in close dialogue with Frank Gehry’s building. With Splinter, the artist creates a varied dynamic element, composed of triangular forms, from which color launches itself with great momentum. Made up of twenty plywood triangles nested on a self-supporting structure, the piece occupies part of Gallery 10’s right wall, functioning like a visual “spark” connecting floor and ceiling. Following the structure’s installation in the space, the next step was to paint it and everything surrounding it. Using a stencil, Katharina Grosse created a void in the center, as if the sunlight streaming through the skylight had come to “burn” the paint. In the words of the artist, “a painting can land anywhere, can remain anywhere… Painting isn’t connected to a place. It tries out—and dramatically compresses—the characteristics of reality.” General Curator Suzanne Pagé, Artistic Director of the Fondation Louis Vuitton Curators Ludovic Delalande, Nathalie Ogé and Claire Staebler with Claudia Buizza
Fondation Louis Vuitton, Paris

FONDATION LOUIS VUITTON | Bois de Boulogne | 8, Avenue du Mahatma Gandhi
75116 Paris

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posted 06. Aug 2022

I am land

06. Jun 202220. Oct 2022
opening: 02. Oct 2022 02:00 am
June 6–October 2, 2022 **I am land** Part of ArtworxTO: Toronto’s Year of Public Art 2021–2022 I am land is a three-part exhibition series that explores the role of the artist as a chronicler. Many artists have a deep interest in representing the past, exploring the present, and imagining the future. This series and its public programs highlight and celebrate how individuals and communities have the power to create their own histories. This exhibition brings attention to stories that come directly from the land. Engaging with storytelling practices specific to a certain place, the artworks in this show highlight history-making as a site-specific exercise. I am land that speaks is the third and final chapter of the I am land exhibition series that considers how artists take on the role of chroniclers. From Eric Gallardo’s and Tania Willard’s collaboration with and acknowledgment of other-than-humans, to Lisa Myers’s, MADEYOULOOK’s, and Chris Mendoza’s exploration and criticism of land development and private property, the show reflects on the destructive relationship we continue to have with our environment while also proposing changes that will improve our collective existence. It also expands on the work of the chronicler by opening up time into non-linear explorations of the future, with artists Alvin Luong and Cannupa Hanska Luger presenting documents of speculative futures. Exploring embodied connections to land, this exhibition also includes off-site gardens and virtual programs that involve participatory and community-based methods for learning and growing together. I am land brings up ideas of public history and empowers collective history-making, demanding that our public spaces reflect our past, present, and future. * Maya Wilson-Sanchez is a curator and writer based in Toronto. She has worked in numerous galleries and museums, including the AGO, Gallery TPW, and MKG127, and has curated exhibitions at Xpace Cultural Centre, the Royal Ontario Museum, Pride Toronto, and the Art Gallery of Guelph. Their essays, reviews, and exhibition texts can be found in various publications including The Senses and Society Journal, Canadian Art, Contemporary HUM, and the book Other Places: Reflections on Media Arts in Canada. In 2019, she was an Editorial Resident at Canadian Art and a Curatorial Resident at the Art Museum at the University of Toronto. The 2020 recipient of the Middlebrook Prize for Young Canadian Curators and a 2021 participant at the Tate Intensive, she also teaches in the Criticism and Curatorial Practice program at OCAD University and is the Associate Editor at C Magazine.
Union Station, Toronto

65 Front Street West
M5J 1E3 Toronto

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posted 05. Aug 2022

The Otolith Group. Xenogenesis

17. Mar 202203. Sep 2022
opening: 17. Mar 2022 08:00 pm
Museum of Contemporary Art Metelkova, Ljubljana 17 March – 3 September 2022 Opening: 17 March 2019, at 8 p.m. **The Otolith Group. Xenogenesis** The Otolith Group’s work weaves together many strands of imagination and speculation about the past and the future, including science fiction, postcolonial history, music, and scientific discovery. Their work pictures a society in which screens have become part of the natural world, communication is global, culture is political, human identity is crucial, but fluid, and history has not ended. Xenogenesis brings together a selection of key works by The Otolith Group, the London-based art collective consisting of Anjalika Sagar and Kodwo Eshun. This cross-section of works, created between 2011 and 2018, reflects the artists’ ongoing commitment to creating what they call “a science fiction of the present” through the use of images, voices, sounds, and performance. Suspended between fiction, poetry, documentary, and theory, The Otolith Group’s post-cinematic films, high definition videos and multiple screen installations address the global crises of the Racial Capitalocene that have shaped contemporary planetary capitalism. The title of the exhibition references the African-American science fiction novelist Octavia Butler’s legendary Xenogenesis trilogy, which opens with Dawn (1987), continues with Adulthood Rites (1988), and concludes with Imago (1989). The term Xenogenesis conjoins the Greek prefix xenos meaning strange or alien with the suffix genesis meaning origin or generation. Butler’s neologism informs Eshun and Sagar’s longstanding preoccupation with the promise and threat of the idea of alien becoming. The first work by The Otolith Group to be filmed in North America, Medium Earth (2013), extends Eshun and Sagar’s investigation of the seismic psyche in Fukushima in 2011 and 2012. The most recent work in Xenogenesis, O Horizon (2018), is a portrait of Visva Bharati University, which was established in 1919 in Santiniketan, West Bengal, by the polymath Rabindranath Tagore. The Otolith Group was established in London in 2002. Eshun and Sagar have been leading experimentalists in the fields of documentary and filmic essays, known both for their own work and for their support and exploration of other filmic practices by programming and organizing discursive events, much of which is done under the name the Otolith Collective. Through these projects, The Otolith Group challenges a white modernist mode of artistic production and expands the global view of art. Xenogenesis was first shown at the Van Abbemuseum in Eindhoven in May 2019, and was curated by Annie Fletcher. Its presentation in Slovenia is organized by Van Abbemuseum and Moderna galerija and co-curated by Annie Fletcher, Director, Irish Museum of Modern Art, and Igor Španjol, Curator, Moderna galerija, Ljubljana. The original exhibition architecture is designed by the Diogo Passarinho Studio. Xenogenesis was on view at the Institute for Contemporary Art, Richmond, Virginia (2020), Southern Alberta Art Gallery, Lethbridge (2020), Buxton Contemporary, Melbourne (2020), and Sharjah Art Foundation (2021/2022). Following its presentation in Slovenia, the exhibition will travel to the Irish Museum of Modern Art, Dublin, in 2022.
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posted 04. Aug 2022


05. Feb 202214. Aug 2022
5 February to 14 August 2022 **WOMEN AND CHANGE** What does it mean to be a woman today? What is feminine? Who defines what femininity is? Who can be female? And is femininity gender specific at all? The exhibition Women and Change unfolds how Western art history has depicted women from the Modern Breakthrough of the late nineteenth century to the most recent contemporary art. In a wealth of works of art by Danish and international artists, you can explore how artists have, over the course of the past 150 years, reflected, responded to and resisted changing perceptions of both women and gender: from Impressionist portraits to performative body art. From lush studies of nudes to critical examinations of how history is written. From the battle for education to #MeToo The history of the women’s movement begins to leave its mark on the world of art as far back as 1870. New ideas about women’s emancipation – and a new outlook on art – meant that more women artists got the opportunity to practice their art and exhibit. The word ‘kvinde’ for ‘woman’ entered the Danish language as a replacement for more dismissive labels these years, raising hopes for new times ahead in terms of women’s rights and roles. Since then, countless artists have rebelled against traditional depictions of women, helping to expand and add nuance to our view of gender and gender identity. Since 2017, the #MeToo movement – originally launched by African-American activist Tarana Burke in 2006 – has shown us that the battle for women’s right to their own bodies remains ongoing. New perspectives Our concepts of women and femininity are constantly changing, renegotiated and up for discussion. The exhibition Women and Change tells the story of women’s liberation through art while also exploring our present time where new perspectives and perceptions of body ideals, gender identity and femininity infuse the public debate. One is not born, but rather becomes, a woman. - Simone de Beauvoir This spectacular, sensuous and thought-provoking exhibition features works by Marina Abramovic, Genesis Belanger, Bolette Berg og Marie Høeg, Dara Birnbaum, Benedikte Bjerre, Louise Bourgeois, Elina Brotherus, Nancy Burson, Arvida Byström, Claude Cahun, Sophie Calle, Cassils, Franciska Clausen, Kate Cooper, Anne Katrine Dolven, Marlene Dumas, Ditte Ejlerskov og EvaMarie Lindahl, Paul Gauguin, Guerrilla Girls, Gudrun Hasle, Lea Guldditte Hestelund, Astrid Holm, Olivia Holm-Møller, Sophie Holten, Kirsten Justesen, Lena Johanson, Birgit Jürgenssen, Marie Krøyer, P.S. Krøyer, Johannes Larsen, Marie Laurencin, Sarah Lucas, Vilhelm Lundstrøm, Ana Mendieta, Lee Miller, Carla Colsmann Mohr, Berthe Morisot, Emilie Mundt, Wangechi Mutu, Kai Nielsen, Astrid Noack, Frida Orupabo, Lene Adler Petersen, Laure Prouvost, Paula Rego, Tabita Rezaire, Pipilotti Rist, Niki de Saint Phalle, Luna Scales, Tschabalala Self, Cindy Sherman, Apolonia Sokol, Alina Szapocznikow, Vibeka Tandberg, Mickalene Thomas, Andy Warhol, Gerda Wegener, Sif Itona Westerberg, J.F. Willumsen, Francesca Woodman, Kristian Zahrtmann and Cajsa von Zeipel.
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posted 03. Aug 2022

Dumb Type

06. May 202211. Sep 2022
Dumb Type 6. Mai – 11. September 2022 Das Haus der Kunst präsentiert eine neue, ortsspezifische Ausstellung des japanischen Künstler\*innen-Kollektivs Dumb Type. Das 1984 in Kyoto von Studierenden gegründete Kollektiv kritisiert in seinen vielfältigen Installationen und Performances u.a. mit Bildern aus dem Cyberpunk eine hochgradig „informatisierte“ Konsumgesellschaft, die durch die unaufhörliche Datenflut und technologische Entwicklung passiv und stumm geworden ist: Individuen, die „mit Informationen überschüttet werden, ohne etwas zu begreifen“ (Teiji Furuhashi). Durch diese Perspektive auf Kommunikation − oft arbeiten Dumb Type in mehreren Sprachen, reden in bedeutungslosen Lauten oder versuchen, indirekt mittels Technologie zu kommunizieren − haben sie sich stets gegen Schubladendenken gewehrt. Dies gilt sowohl für die Akteur\*innen der Gruppe als auch für ihre Arbeit, die bis dahin unumstößliche Kategorien wie Nationalität, Geschlecht oder Ableism in Frage stellt. Die drei eigens konzipierten Installationen im Haus der Kunst setzen sich damit auseinander, wie digitale Medien und Technologien heute einen prägenden Teil der Lebenserfahrung darstellen. In ihnen verschmelzen Vergangenheit und Zukunft, Sehnsucht und Verzweiflung. Die Ausstellung legt mehrere vergangene Performances groß an und interpretiert sie multimedial neu: Playback ist eine opernhafte Klangskulptur, die immer wieder auf das soziale und politische Klima reagiert, in dem sie ausgestellt wird. Für die aktuelle Ausstellung besteht die Installation aus sechzehn Plattenspielern und aus Feldaufnahmen, die der japanische Komponist Ryuichi Sakamoto eigens für das Haus der Kunst geschaffen hat. Trace/React II ist eine immersive, spektakuläre Installation, die die Banalität einer durch künstliche Intelligenz generierten Sprache erforscht. Und die Installation Memorandum OR Voyage kombiniert Szenen dreier ikonischer Performances mit eigens konzipiertem neuen Material in einer riesigen LED-Projektion. Im Zentrum steht die Frage nach Wissen und unserer Fähigkeit, zwischen idealisierten und materiellen Wahrheiten zu unterscheiden. Dumb Types Herangehensweise an Performativität, Zufall und den starken Einfluss der Technologie auf unsere menschliche Existenz wurde maßgeblich von der japanischen Künstlerin Fujiko Nakaya beeinflusst. Dies führte im Laufe der Jahre zu mehreren Kollaborationen. Die visionären Performances und Installationen von Dumb Type stützen sich auf die Tradition von Künstler\*innen-Kollektiven wie Jikken Kōbō (1951−57), Gutai (1955−72) und Hi-Red Center (1963−64). Zudem wenden sie die konfrontativen Strategien des Butoh- oder Angura-Theaters an. Nicht zuletzt deshalb stehen Dumb Type immer schon an der Spitze der Debatten über Identität und Sexualpolitik in Japan und auf der ganzen Welt. Sie konfrontieren das Publikum direkt mit Tabuthemen wie Identitätsbildung, der Allgegenwärtigkeit von Überwachungs- und Kommunikationstechnologien oder dem Trauma globaler Gesundheitskrisen wie HIV/AIDS, der Krankheit, die 1995 auf tragische Weise das Leben eines ihrer Gründer, Teiji Furuhashi, forderte. Im Zentrum der umfangreichen Arbeit von Dumb Type steht die ständige Auseinandersetzung mit der Verschränkung des technologischen Fortschritts und des Körpers. Das Kollektiv setzt sich aus Künstler\*innen zusammen, die in verschiedenen Bereichen wie bildende Kunst, Video, Computerprogrammierung, Musik und Tanz arbeiten. Ihre kreative Praxis basiert auf einer flachen, nicht-hierarchischen Zusammenarbeit und setzt sich mit Themen wie Geschlecht, ethnischer Herkunft, Leben und Tod, Erinnerung und Informationsgesellschaft kritisch auseinander. Die Arbeiten fordern die Betrachter\*innen zum aufmerksamen Zuhören, Lesen und Zuschauen auf. Dadurch wird ein Zustand der Liminalität („ma“ auf Japanisch) erzeugt, ein Zustand der Trägheit oder des Nichts, der sich hauptsächlich aus einem Übermaß an Bedeutung ergibt. Dies ist ein zentraler Aspekt vieler Arbeiten, die die Auswirkungen der digitalen Technologie und des menschlichen Bewusstseins hinterfragen. Mit großzügiger Unterstützung der Ulli und Uwe Kai-Stiftung Ein Katalog erscheint Anfang Juni 2022
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posted 02. Aug 2022

Mirdingkingathi Juwarnda Sally Gabori

03. Jul 202206. Nov 2022
From July 3 to November 6, 2022 **Mirdingkingathi Juwarnda Sally Gabori** From July 3 to November 6, 2022, the Fondation Cartier pour l’art contemporain is proud to present the first major solo survey exhibition of Aboriginal artist Mirdidingkingathi Juwarnda Sally Gabori, outside Australia. This is my land, this is my sea, this is who I am. Sally Gabori Considered one of the greatest contemporary Australian artists of the past two decades, Sally Gabori began painting in 2005, around the age of eighty, and rapidly achieved national and international renown as an artist. In just a few short years of a rare creative intensity, and prior to her death in 2015, she developed a unique, vibrantly colorful body of work with no apparent ties to other aesthetic currents, particularly within contemporary Aboriginal painting. Bringing together some thirty monumental paintings, this exhibition is organized in close collaboration with the artist’s family and the Kaiadilt community, alongside the foremost specialists in Kaiadilt art and culture. They will be present in Paris for its opening to pay tribute to this artist, whose work continues to fascinate for its spontaneous, luminous, and profoundly original character. Kaiadilt, A Life in Exile Mirdidingkingathi Juwarnda Sally Gabori was born c. 1924 on Bentinck Island, in the Gulf of Carpentaria, off the coast of far-north Queensland, Australia. She was a Kaiadilt woman who spoke Kayardilt language. Her name, Mirdidingkingathi Juwarnda, comes from the Kaiadilt tradition, which stipulates that everyone is named according to their place of birth and their totemic ancestor. Therefore, Mirdidingkingathi indicates that Sally Gabori was born at Mirdidingki, a small creek located in the south of Bentinck Island, and that her “totem animal” is juwarnda or dolphin. Largely isolated, with a population of 125 in 1944, the Kaiadilt were the last Aboriginal people of coastal Australia to establish lasting ties with the European. Sally Gabori and her family lived a traditional lifestyle, relying almost entirely upon their island’s natural resources. Like most women, she was in charge of fishing, maintaining the stone fish-traps that dotted the shores of the island, and of weaving natural fibers into baskets. From the early 1940s onwards, the Presbyterian missionaries who in 1919 had settled on Mornington Island, to the north of Bentinck Island, tried unsuccessfully to convince the Kaiadilt to join their mission. Their attempts were in vain. However in 1948, following a cyclone and a tidal wave that flooded a large part of Kaiadilt land and contaminated their fresh water supplies, the 36 last surviving Kaiadilt residents, including Sally Gabori and all of her family, were evacuated to the Presbyterian mission on Mornington Island. This exile, which they believed would only be temporary, would ultimately last for several decades. When they arrived on Mornington, the Kaiadilt were housed in camps along the beach and the children were separated from their parents and installed in dormitories within the mission. They were forbidden from speaking their mother tongue, resulting in a fracture from their culture and traditions. From the 1990s onwards, after many years of struggle for the recognition of Aboriginal land rights, Australia passed legislation which finally recognized the rights of the Kaiadilt to their land. A small outstation was established at Nyinyilki on Bentinck Island, allowing those Kaiadilt who so wished, including Sally Gabori, to return to their native island and stay there temporarily. Painting Her Native Island Sally Gabori began painting in 2005, at over eighty years of age. Her paintings, although abstract in appearance, are as much topographical references as they are stories with a deep signification for her, her family, and her people. They are a celebration of different places on her native island, some of which Sally Gabori and members of her family linked to these places through their names, did not visit for almost forty years. The places she paints are also associated with the political struggle for the recognition of Kaiadilt land rights. Beyond Kaiadilt iconographic tradition, Sally Gabori’s paintings bear witness to a boundless imagination and audacious freedom of invention, nourished by the infinite variations of light on the landscape, caused by the dramatically changeable weather on the Gulf of Carpentaria. Boasting combinations of colours, an interplay of forms, textured painterly surfaces, and different formats, Sally Gabori painted over 2,000 canvases over the nine years of her artistic career, exploring the multiple resources of pictorial expression in a seemingly short space of time. Sally Gabori initially worked on a small scale, painting with a thin brush and undiluted colours. In 2007, she transitioned to monumental canvases over six metres long, losing none of the vigour of her gesture or audacity in the use of colour. That same year, inspired by a first return visit to her homeland, Sally Gabori went to considerable lengths to map on canvas the numerous places dear to her. She produced three collaborative paintings over six meters in length, with her sisters and nieces, all born on Bentinck Island before the exodus. Towards the end of her career, she also painted a number of large pieces with her daughters, Amanda and Elsie, and encouraged her other daughters, Dorothy and Helena, to join the Mornington Island Arts and Crafts Centre. After her death in 2015, the Queensland Art Gallery | Gallery of Modern Art in Brisbane, and then the National Gallery of Victoria in Melbourne presented a large retrospective of her work in 2016 and 2017. Her paintings are now featured in some of Australia’s most important public collections. An Exhibition of Discovery This exhibition at the Fondation Cartier presents some thirty canvases by Sally Gabori, including spectacular monumental canvases that punctuated her career, as well as three collaborative paintings done with other Kaiadilt artists, including her daughters. Thanks to some exceptional loans from major Australian galleries such as Queensland Art Gallery | Gallery of Modern Art, National Gallery of Australia, National Gallery of Victoria, Art Gallery of New South Wales and HOTA, Home of the Arts, as well as Musée du Quai Branly – Jacques Chirac, and generous loans by private lenders, the exhibition allows the public to discover an immense colourist whose corpus, profoundly anchored in the history of her people, bears witness to a remarkable pictorial modernity. To coincide with this ambitious exhibition of paintings, conducive to contemplation and reflection, the Fondation Cartier, in close collaboration with Sally Gabori’s family and the Kaiadilt community, has created a website dedicated to the life and work of the artist. It showcases her rich work and the important cultural legacy she has left to successive Kaiadilt generations. Through countless documents and accounts collected in Australia for this exhibition, this site is the most exhaustive archive ever compiled on the history of Sally Gabori and the Kaiadilt people

artists & participants

,  Sally Gabori 
Fondation Cartier, Paris


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posted 01. Aug 2022

I heard myself close my eyes, then open them

14. May 202213. Aug 2022
May 14 - August 13, 2022 **I heard myself close my eyes, then open them. Patricia L. Boyd, K.R.M. Mooney, Philip Seibel** curated by Nele Kaczmarek Der Begriff Phototropismus bezeichnet Bewegungen von Pflanzen als Reaktion auf Lichteinwirkung. Abhängig von der Art und Intensität der Lichtquelle und des Pflanzentypus erfolgt eine Hin- oder Abwendung einzelner Blattstiele, Äste oder Wurzeln auf Basis sich neu auf- oder abbauenden Gewebes. Die räumliche Position und Formveränderungen bedingen sich unmittelbar, wobei die Resonanz auf das wiederholt einfallende Licht mit der inneren Logik der Pflanzen zusammenfällt. Diese externen und internen Bewegungsimpulse sind derart komplex und verzahnt, dass wissenschaftliche Vorhersagen über die genaue Formveränderung der Pflanze unter Lichteinfluss bis heute nahezu unmöglich sind. Der innere Antrieb und Umwelteinflüsse werden mit jeder Bewegung der Pflanze neu verhandelt. In loser Anlehnung und unter räumlicher Bezugnahme auf das Phänomen des Phototropismus untersuchen die Künstler_innen der Ausstellung I heard myself close my eyes, then open them, Patricia L. Boyd, K.R.M. Mooney und Philip Seibel die Beziehung zwischen individuellen Denk- und Handlungsmustern und einer gestalteten Umgebung. Wie formt die Umwelt mit ihren Architekturen, Objekten, Diskursen und Stimmungen individuelle Körper und ihre Bewegungen und inwiefern schreiben sich diese in sie umgebende Orte und Oberflächen ein? Dabei teilen die Künstler_innen ein besonderes Interesse an Spuren, die im Sinne von Oier Etxeberria vermitteln, „wie unsere Beziehung zu jeglicher Sphäre durch Bewegung, Veränderung und Wiederholung bestimmt ist“1. In der Auseinandersetzung mit Routinen, ihren Regelmäßigkeiten, Abweichungen und besonders auch ihrem transformativen Potential, versammelt die Ausstellung Werke im Übergang. Gezeigt werden künstlerische Arbeiten, die in vielfacher Weise überformt wurden oder werden und somit eine gewisse Transtemporalität erzeugen. Der Berührung als einer zwischen körperlicher und außerkörperlicher Realität vermittelnde sinnliche Geste wird dabei eine besondere Aufmerksamkeit zuteil. Die Skulpturen Radiators, 2019-22 von Philip Seibel entwickeln ihre Spannung aus der Kombination von industriell anmutenden Oberflächen und zurückhaltenden wie präzisen malerischen Setzungen. Zwei scheinbar disparate Produktionsformen, die aber doch das Ergebnis einer ähnlich zeitintensiven handwerklichen Tätigkeit sind. In ihrer kastenförmigen Anlage und ihrer solitären, ungewöhnlich hohen Positionierung im Raum, bewegen sie sich in der Wirkung zwischen Altar und Lüftungsanlage und somit auch innerhalb der Pole extrem fetischisierter und diskret hinter ihrer Funktion zurücktretender Objekte. Die Arbeiten scheinen getrieben von dem Verlangen, eine „Präsenz von etwas zu schaffen, das selbst im Verborgenen bleibt“, wie Seibel es beschreibt. Gleichzeitig verweisen die integrierten Luftschlitze auf den für gewöhnlich unsichtbaren Dialog zwischen Objekt und Körper, die gleichermaßen von aufgewirbelten Luftpartikeln umschlossen und durchdrungen werden und somit permanent in einem stillen Austausch stehen.Zirkulierende Luftströme sind auch der Ausgangspunkt einer Serie vergoldeter und versilberter Objekte mit dem Titel Partials, 2021 von K.R.M. Mooney. An der Wand montiert, setzen sie kurz unterhalb der Augenhöhe der Besucher_innen an und erinnern so an ihren Ursprung als Mundstücke verschiedener Blasinstrumente. Sie rufen Klänge, Gesten und Substanzen ins Bewusstsein und betrachten den Mundraum als eine Schwelle zwischen privatem und öffentlichem Raum, in dem die „Außenwelt“, wie Lorenz Aggermann schreibt, „dank Atmung, Ernährung, Geruch und Geschmack ganz unmittelbar zu Innenwelt“ wird und sich die Umgebung zu einem „mehrdimensionalen Zeit-Raum“2 weitet. In ihren fragmentierten, minimal abweichenden Formen, deuten sie ein breites Spektrum tonaler Nuancen an und widersprechen dabei auch dem Streben nach eindeutigen Kategorisierungen. Mit einer Reihe ortsbezogener Interventionen mit dem Titel Partition, 2022 wird die Verhandlung von Blicken und sinnlichen Wahrnehmungen in der Form neu organisierter Jalousien fortgeführt. Fenster sind das Sujet und Mittel, mit dem Patricia L. Boyd Fotogramme produziert. In dem gezeigten Diptychon und Triptychon, beide Untitled, 2021, werden spezifische zeitliche Momente freigelegt und versetzt nebeneinander präsentiert, um flache indexikalische Bilder zu erzeugen, die weder aus dem Studio der Künstlerin hinaus- noch hineinblicken. In der Videoarbeit Sweepings, 2019, versammelt Boyd handschriftliche und getippte Auszüge aus To-Do-Listen. Neu kombiniert und in Ausschnitten anonymisiert, erzählt die Arbeit von den sozialen, ökonomischen, physischen und psychischen Mikrobewegungen, die in der Summe unsere Körper, unseren Alltag und unsere Umgebung strukturieren und ständig umformen. Nele Kaczmarek – ‍ 1 Etxeberria, Oier: Übungen: die zweite Luft. In: Cybernetics of the Poor, Berlin 2020, S. 42. ‍2 Aggermann, Lorenz: Der offene Mund. Eine unergründliche Figuration des Oralen. In: Das Orale: Die Mundhöhle in Kulturgeschichte und Zahnmedizin. Berlin 2013, S. 238.

artists & participants

Patricia L. Boyd,  K.R.M. Mooney,  Philip Seibel 


Nele Kaczmarek 
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posted 31. Jul 2022

Hito Steyerl - A Sea of Data

29. Apr 202218. Sep 2022
Hito Steyerl A Sea of Data April 29–September 18, 2022 Hito Steyerl (b. 1966, Germany) is one of the most influential media artists of today, conducting in‒depth explorations of some of the most contentious social and cultural phenomena of the contemporary era through her film and writing activities, including situations related to digital technology, global capitalism, and the pandemic. She is also a superlative visual artist, film director, critic, and writer who works in the realms of art, philosophy, and politics as she raises fascinating points about media, the image, and technology. She contributes writings to various media, including the platform e‒flux. Hito Steyerl: A Sea of Data at the National Museum of Modern and Contemporary Art, Korea (MMCA) is the artist’s first solo exhibition in Asia, sharing 23 of her most representative works from her early video works in the 1990s, which took the form of film essays with a documentary quality such as Germany and Identity (1994) and The Empty Centre (1998), to her most recent video works reflecting on digital technology (including the internet, virtual reality, robot engineering, and artificial intelligence) within its relationship to human beings and society. In particular, this exhibition will mark the first presentation of Animal Spirits (2022), a new work commissioned by MMCA. The exhibition subtitle A Sea of Data comes from the title of Steyerl’s essay “A Sea of Data: Apophenia and Pattern (Mis‒)Recognition” (2016), alluding to the exhibition’s aim of gazing reflectively on a data society that is being transformed today into a different reality. Accordingly, the exhibition focuses on presenting the artist’s recent video works, which turn a critical gaze on the production of information and images that are mediated by big data and algorithms and circulated over social media, as well as the contexts of technology, capital, power, and politics behind these data representations. The exhibition poses a number of other questions: Can technology rescue human beings from the maelstrom of disasters and wars that we currently face? What is the role of the contemporary art museum in an era defined by planetary civil war, rising inequality, and monopolistic digital technology? How have digital visual systems transformed our perceptions of human beings and society? How do the low‒resolution digital images that the artist refers to with the term “poor image” relate to our ways of life? In the process, the exhibition seeks to provide an opportunity for broader consideration of and reflection on the new images, the visuality, the state of the world, and the status of the contemporary art museum brought about by digital culture in the context of accelerating global capitalism and networked spaces. A conversation with the artist and associated academic events will also be taking place during the exhibition to promote a more in-depth understanding of Hito Steyerl’s body of work. The conversation with the artist will be taking place at 2pm on Friday, April 29, and expert talks will be held between June and July. An associated film screening program will be also provided as an opportunity to observe Steyerl’s early film works. Between Wednesday, May 27 and Sunday, July 17, MMCA Film & Video at MMCA Seoul will be showing seven early works that laid the groundwork of the artist’s documentary perspective, including The Empty Centre (1998), November (2004), and Lovely Andrea (2007).
National Museum of Modern and Contemporary Art, Korea

National Museum of Modern and Contemporary Art | 30 Samcheong-ro, Sogyeok-dong, Jongno-gu
03062 Seoul

Korea (Republic of)show map
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posted 30. Jul 2022


09. Jun 202230. Jul 2022
opening: 09. Jun 2022 06:00 pm
Eröffnung: Donnerstag, 9. Juni 2022 von 18 bis 21 Uhr Ausstellungsdauer bis Samstag, 30. Juli 2022 **SUMMER OF LOVE 55** Vera Chytilová, Al Hansen, Lennart Grau, Manfred Peckl, Dan Perjovschi, Rade Petrasevic, Margot Pilz, Tex Rubinowitz, Gerhard Rühm, Maruša Sagadin, Kristof Santy, Mircea Stanescu, Franz West Die Ausstellung SUMMER OF LOVE 55 will an die soziokulturellen Phänomene erinnern, die den Sommer 1967 bestimmten. In den USA und in der ganzen Welt gab es damals die ersten großen politischen Proteste junger Menschen gegen den Krieg in Vietnam. Gleichzeitig war der Ausbruch neuer populärer und subkultureller Musik eines der bestimmenden Merkmale des SUMMER OF LOVE: If you're going to San Francisco, Be sure to wear some flowers in your hair. If you come to San Francisco, Summertime will be a love-in there. (Scott McKenzie, 1967) Summer of Love lenkt die Aufmerksamkeit auf eine Ära, in der sowohl Konzepte der Politik als auch der Begriff der Liebe einen wichtigen Stellenwert einnahmen. Es war die Zeit des zivilen Ungehorsams, des Antiautoritarismus, des politischen Protests und der "Flower Power". Der politische Aktivismus führte zu soziokulturellem Aktivismus und alternativen Lebensstilen (sexuelle Freiheit, Kommunen, gemeinsames Eigentum). Der belgische Philosoph Raoul Vaneigem stellte sich eine neue Gesellschaft vor, welche "die Beteiligung aller an der Selbstverwirklichung aller anderen fördert und unterstützt", basierend auf "Kreativität, Liebe und Spiel". In dem heute wieder regressiven Klima der Angst und der Fremdenfeindlichkeit scheint Vaneigems These aktueller denn je. Damals gab es Hoffnung auf eine neue und andere Welt - von Liebe und gegenseitigem Verständnis erfüllt. Vielleicht können wir etwas davon lernen, wenn wir über die späten 1960er Jahre nachdenken und sie mit der individualistischen und wettbewerbsorientierten Zeit von heute vergleichen. (zitiert nach Katerina Gregos)
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posted 29. Jul 2022

Potosí-Prinzip - Archiv

03. Jun 202201. Oct 2022
opening: 03. Jun 2022 07:00 pm
03.06.2022 - 01.10.2022 **Potosí-Prinzip - Archiv** kuratiert von Alice Creischer und Andreas Siekmann mit Harun Farocki, Lois Hechenblaikner und Miguel Hilari Herzliche Einladung zur Ausstellungseröffnung und Sommerfest am Freitag, 03.06.22 um 19:00 Uhr Der europäische Kapitalismus ist nicht denkbar ohne die Ausbeutung von Menschen und Natur in Lateinamerika während der Kolonialzeit. Er kann nicht als losgelöstes einzelnes Konzept gesehen werden, sondern ist vielmehr das Ergebnis einer Vielzahl von historischen Prozessen. Die Minenstadt Potosí in Bolivien war der Ausgangspunkt für das Ausstellungsprojekt Das Potosí-Prinzip, kuratiert von Alice Creischer, Max Jorge Hinderer Cruz und Andreas Siekmann. Gezeigt wurde es 2010 im Reina Sofia Museum in Madrid und im Haus der Kulturen der Welt in Berlin. 2011 wanderte die Ausstellung weiter ins Museo Nacional de Arte und ins Museo Nacional de Etnografia y Folklore in La Paz, Bolivien. Der Cerro Rico (dt. Reicher Berg) in Potosí war zwischen dem 16. und 18. Jahrhundert eines der wichtigsten Silberabbaugebiete der Welt und brachte einen unvorstellbaren Reichtum nach Europa. 1557 entstand hier die erste Bergbau-Akademie. Auch heute wird in Potosí noch Silber und Zink abgebaut. Wie damals bleibt davon jedoch so gut wie nichts in Bolivien. Das Silber schuf nicht nur eine entscheidende Dynamik für die Entwicklung der Industrie, des Bankenwesens, der kolonialen Handelskompanien und ihrer Kriegs- und Sklavenschiffe, sondern auch für die Vertreibung, Verelendung und Verfügbarmachung von Menschen zu Arbeitskräften. Es ist der Beginn eines Prinzips, das schon seit jeher global agierte. Die Ausstellung erörterte dies anhand der kolonialen Barockbilder und ihrer Beantwortung durch gegenwärtige Künstlerinnen. Sie wurde zu einem Meilenstein in der postkolonialen Hinterfragung des Ursprungs der Moderne und der Funktion der Kunst darin. Die Ausstellung Potosí-Prinzip – Archiv präsentiert nun das Archiv dieses Projekts, mit dem die Künstlerinnen Alice Creischer und Andreas Siekmann seine blinden Flecken erforschen wollen und erneut an die Frage anknüpfen, wo das Prinzip der globalen Ausbeutung heute noch zu finden ist. Es besteht aus 36 Broschüren, die in vier Bände gefasst sind. Seine Themen sind: Extraktivismus, Arbeit, Schulden, Inquisition, Maschinenkapitalismus und Dekolonisierungspraktiken. Das Potosí-Prinzip – Archiv ist eine Sammlung von historischen und zeitgenössischen Quellen, Interviews, Essays, Gedichten, Manifesten und Bildern. Die Stadt Schwaz in Tirol bezeichnet sich selbst als Silberregion und ist somit untrennbar von ihrer historischen Identität zu betrachten. Was einst zu großem Reichtum führte und die Fugger nach Schwaz brachte, um von dort aus als europäische Finanziers zu agieren, wird nach wie vor als Aushängeschild der Stadt genutzt. Die Ausstellung in Schwaz versteht sich als Lesesaal. Sie ist aber auch eine Art Werkzeugkasten für Bewusstseinsprozesse. Eine Gegenüberstellung von vergangenen Bildern und zeitgenössischen künstlerischen Beiträgen. Sie zeigt Prozesse, die sich nicht aufhalten lassen, aber neu gedacht werden müssen.
Kunstraum Schwaz

Palais Enzenberg, Franz-Josef-Straße 27
A-6130 http://www.kunstraum-schwaz.at

Austriashow map
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posted 28. Jul 2022

Carlos Villa: Worlds in Collision

17. Jun 202226. Sep 2022
On view: June 17, 2022—September 26, 2022 **Carlos Villa: Worlds in Collision** Walter and McBean Galleries and Diego Rivera Gallery, SFAI—Chestnut Campus Co-presented by the San Francisco Art Institute and Asian Art Museum Carlos Villa: Worlds in Collision is the first museum retrospective of iconic Filipino-American artist Carlos Villa and is presented as a joint exhibition at both the San Francisco Art Institute and Asian Art Museum. An alumnus and longtime SFAI faculty member, Villa (1936-2013) is a legend in artistic circles for his groundbreaking approaches and his influence on countless artists, but remains little known to many fans and scholars of modern and contemporary art. Villa was inspired by the late 1960s Third World Liberation consciousness in the Bay Area and radically changed his approach to artmaking to reflect non-western perspectives. The exhibition illuminates the social and cultural roots, as well as the global importance, of Villa’s art and teaching career as he sought to forge a new kind of art-world inclusion that reflected his own experience, commitment to diversity, and boundary-bending imagination. The full arc of Villa's six-decade career will be on display at SFAI, while the concurrent presentation at the Asian Art Museum features large-scale artworks Villa created in the 1970s. Carlos Villa: Worlds in Collision is the result of a partnership between SFAI and the Asian Art Museum, including curators Abby Chen, head of contemporary art at the Asian Art Museum, Trisha Lagaso Goldberg (SFAI), and Mark D. Johnson (San Francisco State University). The exhibition is accompanied by an original, fully illustrated catalogue published by the University of California Press with major essays by renowned scholars including Patrick Flores, Luis Francia, Theodore Gonzalves, Paul Karlstrom, Lucy Lippard and Margo Machida. About Carlos VIlla Carlos Villa (1936–2013), born and raised in San Francisco, studied at the SF Art Institute with, and became close to, fellow artists Joan Brown and Manuel Neri. He also befriended Bruce Conner, and showed in Conner’s Rat Bastard Protective Association show. He spent 6 years in New York exploring an abstract style, showing with his cousin Leo Valledor before returning to SF in 1969. In California, Villa shifted away from his largely minimal practice, embracing his lived experience and identity as a man of Filipino descent as essential to his work. In 1969, he became an instructor at the San Francisco Art Institute, where he practiced and taught as one of the first post-war artists to actively incorporate cultural motifs and materials into his paintings, sculptures, and performances. A dedicated educator, he launched the project “Rehistoricizing Abstract Expressionism in the San Francisco Bay Area, 1950s–1960s,” which publicly highlighted the contributions of women and artists of color working alongside the likes of Elmer Bischoff, Richard Diebenkorn and David Park. His work was recently featured in the Berkeley Art Museum’s exhibition “Way Bay” that featured a symposium on "Worlds in Collision”, his influential series of exhibitions, symposia, curricula and publications from 1976 until his passing in 2013. Villa has won several awards, including a Pollack-Krasner Foundation grant, a National Endowment for the Arts grant, the Distinguished Alumni Award from the San Francisco Art Institute, the Rockefeller Travel Grant, and the Adaline Kent Award. The 2019 Singapore Biennial will feature Villa’s work as a precursor to and central to concerns in contemporary Asian art. About the Curators Mark Dean Johnson is Professor of Art at San Francisco State University, and co-curator of the Carlos Villa retrospective. He worked and collaborated with Villa at SFAI and elsewhere. Johnson is the Principal Editor of Asian American Art: A History, 1850-1970 (2008: Stanford University Press), and co-curator of projects including Changing and Unchanging Things: Noguchi and Hasegawa in Postwar Japan (2019: Isamu Noguchi Museum and Sculpture Garden/UC Press); Chang Dai-chien: From Heart to Hand (2019: Asian Art Museum) and Asian/American/Modern Art: Shifting Currents, 1900-1970 (2008: de Young Museum/UC Press). Trisha Lagaso Goldberg is an artist, independent curator, and community arts leader. She is co-curator of the Carlos Villa retrospective and curator of the contemporary art component of the exhibition on view at the Asian Art Museum. She worked with Villa on numerous projects, including the San Francisco Babaylan: Sister City Sisters exhibition which they co-curated for the Museum ng Maynila and SFSU Fine Art Gallery in 1998. She has held leadership positions in higher education, nonprofit and public art at notable institutions such as the San Francisco Art Institute, Southern Exposure, and the Hawai’i State Foundation on Culture and the Arts. About San Francisco Art Institute Founded in 1871, SFAI is one of the country's oldest and most prestigious institutions of higher education committed to the practice and study of contemporary art. SFAI fosters creativity and original thinking in an open, experimental, and interdisciplinary context, and has played a central role in many contemporary art movements including Abstract Expressionism, Bay Area Figuration, Color Field, California Funk, and the Mission School. Celebrated artists and thinkers who have studied or taught at SFAI include Angela Davis, Bruce Conner, Carlos Villa, Ansel Adams, Mark Rothko, David Park, Lynn Hershman Leeson, Mildred Howard, George Kuchar, Richard Diebenkorn, Jay DeFeo, Catherine Opie, Joan Brown, Cristobal Martinez, Toba Khedoori, Mike Henderson, Barry McGee, Alicia McCarthy, and Kehinde Wiley. Other notable alumni include the photographer Annie Liebovitz and Academy Award-winning director Kathryn Bigelow.


Carlos Villa 
SFAI San Francisco Art Institute

800 Chestnut Street
CA 94133 San Francisco

United States of Americashow map
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posted 27. Jul 2022

Strange Attractors - The Anthology of Interplanetary Folk Art

21. May 202218. Sep 2022
opening: 21. May 2022 06:00 pm
21 May - 18 September 2022 Opening May 21, 6 -8pm **Strange Attractors The Anthology of Interplanetary Folk Art** Vol. 3: Lost In Space Organised by Bob Nickas David Adamo, Yuji Agematsu, Barry X Ball, Huma Bhabha, Ryan Forester Jason Fox, Tillman Kaiser, Arnold J. Kemp, L, Servane Mary, Justin Matherly John Miller, Christopher Myers, Nikholis Planck, Nicolas Roggy, Sally Ross Kathleen Ryan, Davina Semo, TARWUK, Gert & Uwe Tobias, Frederick Weston APALAZZOGALLERY is pleased to present an exhibition organized by the American writer and curator, Bob Nickas, Strange Attractors, The Anthology Of Interplanetary Folk Art, Vol. 3: Lost In Space. This is the third and final installment of his Strange Attractors series which began with an exhibition in Los Angeles in 2017, Life On Earth, followed by another in New York in 2018, The Rings of Saturn. The show planned for APALAZZOGALLERY was originally to have taken place in 2020, but, as with so many projects for that year, had to be put on hold, as our lives were, a “holding pattern” no one expected would be so consequential, and as prolonged. Two years later, the world has shifted considerably, a planet that has tilted on its axis, if not physically then emotionally, as well as on a psychic level, and in ways we may not yet understand. This is certainly true for those younger and born in this period. The initial idea for Strange Attractors, back in that “yesterworld” when life proceeded much as it had before, was based on an imaginative fiction ahead of the 50th anniversary of the Moon landing in 1969: assemble a collection of artworks to be sent into space, meant to communicate to whoever might be out there: this is who we are, this is how humans visually articulate thought. All art does that, of course. But all art does not necessarily lend itself to that level of reverie—to be lost in thought, to be lost in space, body and mind, buoyant, weightless, drifting but not adrift. Now the world has shifted again, and reverie may seem irresponsible, interrupted by a bad dream from which many won’t soon awake. Lost In Space? The story of my life is that it goes on. Who said that? We may never know. All objects and artworks in the world which orbit one another and, at times in near-slow motion, collide, are in a sense lost to be found. They come from studios, they emerge from under the ground (or appear as if they had), from our time and from the past, from antiquity, from distant periods, allowing us to time travel with them. Of one thing we can be sure: they did not fall from the sky. Someone made them, or something found has been transformed. Yesterday, today, a thousand years ago. All were made for a reason, many out of need, a means to understand what was done, to realize what had previously only existed in the imagination: thought made visible. Some are related to magic, some to ritual, even here in the present, rituals of the everyday. Every artwork has the potential to generate another, but do they attract each other as they attract us, as humans are drawn to and respond to one another, at times almost involuntarily? Since the 1960s, artworks have commonly been referred to as pieces, and they are: to be fit together, pieces of a puzzle, parts of a bigger picture which only appears incrementally, with patience. Every work of art potentially a piece of something larger, otherwise unknown. The picture-puzzle often more easily comes into view when its outer edges are defined. Art, on the other hand, appears from the inside out: from the mind, and its limits are elastic. And what is the difference between a picture-puzzle and the ever-expanding constellation that is art? There is no final image at which we arrive. Who would want that, an end of the line? Ars longa, particularly in a period when speed has become its own aimless reward: Vita brevis. The expanded notions of art in the ‘60s paralleled a greater curiosity for what else might exist beyond the known world, and an increased dissatisfaction with its limits and prohibitions. Humans wondered whether anyone else might be out there? But haven’t we been searching for intelligent life all along—among one another? Cave painting established the beginning of art, a pre-language, a means of communication and of recording. The cave was the first studio, and the first gallery. Footprints in the ground below cave walls, including those of children, attest to creators and audience. Some artists in the ‘60s left the studio behind to work directly in the land, employing natural materials, stone, minerals, salt, and so on, envisioning what came to be called earthworks. But all the art we are aware of has been made terrestrially, here on this planet. All artworks are earthworks. For collectors and curators, works of art brought together may enter states of re-animation. Artworks staged in public and in private perform, and no less suggestively than when they are brought into active relation. The museum may be thought of as a supercollider, which partly accounts for why our visits to them tend to be overwhelming. Visitors can become unmoored, though pleasurably so, entering into convergence with the works before them, or slipping into the suggestive space opened up between one work and another. APALAZZOGALLERY is in a 16th century palazzo, a museum of sorts, with palpable traces of the past and which we may think of as haunted. This exhibition, with its presentation of figurative sculpture, a number of works appearing archaeological or out of time, the rooms visibly inhabited, may well haunt it back. By way of their staging, these works will seem to be aware of each other, while also regarding the paintings, woodcuts and collages hung on the wall—most of which include representations of human figures, heads, and animals. All suggest a gravitational pull that viewers may sense and thus enter into.


Bob Nickas 
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