daily recommended exhibitions

posted 09. Feb 2023

Dayanita Singh - Dancing with My Camera

20. Oct 202219. Mar 2023
Dayanita Singh Dancing with My Camera October 20, 2022–March 19, 2023 Das Museum VILLA STUCK zeigt die bisher umfassendste Retrospektive der international renommierten Künstlerin Dayanita Singh, die mit ihrem Werk eine singuläre Position innerhalb der fotografischen Tradition einnimmt. Singh arbeitet mit Fotografie, durch ihren konzeptuellen und performativen Zugang versucht sie aber stets, die Grenzen des Mediums auszuloten. Dayanita Singh hat im Laufe der letzten 40 Jahren zahlreiche Motive in ihren meist schwarzweißen Fotografien festgehalten. Sie lassen ihre langjährige Beschäftigung mit indischer Musik, mit der Veränderung der indischen Gesellschaft, mit Freund\*innenschaften, Geschlechterrollen und vieles mehr greifbar werden. Dennoch geht es dabei nie um das einzelne Bild, sondern um die Beziehungen, die zwischen den Aufnahmen entstehen. Ihr großes Bildarchiv dient Singh als Ausgangspunkt der künstlerischen Beschäftigung. Hier versammelt sie ihre Fotografien, die formale Ähnlichkeiten aufweisen, aber Räume und Menschen zeigen, die örtlich und zeitlich teilweise weit voneinander getrennt sind. In verschiedenen Formaten – Bücher, Collagen, modulare Strukturen aus Holz – führt sie diese Fotografien immer wieder neu zusammen und trägt dabei der Beweglichkeit des Mediums Rechnung. Die Verbindungen, die sie zwischen den Bildern herstellt, sind nie abgeschlossen. Dayanita Singh versteht sich als offset artist, d.h. als eine Künstlerin, deren Arbeit dissemination (Verbreitung) ist. Ihre ersten Werkgruppen sind als Buchprojekte entstanden, denn dort nehmen die künstlerischen Überlegungen ihren Anfang. In Publikationen verquickt sie ihre Bilder zu bestimmten Narrationen; das Blättern der Seiten stellt eine Möglichkeit dar, die Bilder in Bewegung zu halten. Auch die Bücher selbst bleiben in Bewegung, da sie als mobile Objekte in jeden Raum getragen werden können. Im Laufe der Zeit und vor allem durch ihre Auseinandersetzung mit dem Medium Ausstellung hat sie eine Reihe von modularen, teils architektonisch anspruchsvollen Display-Strukturen entwickelt, die einen einfachen Wechsel von Bildern ermöglichen und diese zugleich in räumliche Beziehung zueinander wie auch in Beziehung zu den Betrachter*innen treten lassen. Diese flexiblen Strukturen nennt sie „Museen“. Sie beinhalten zahlreiche Bilder, die immer wieder in neuen Konstellationen präsentiert werden können. Die einzelnen Elemente sind beweglich, je nachdem welche Teile sichtbar sein sollen; Fotografien, die nicht gezeigt werden, werden im Inneren aufbewahrt. Damit tragen die „Museen“ ihr eigenes Kunstdepot in sich. Indem Singh immer wieder Koffer oder Hüllen verwendet, um ihre „Museen“ zu transportieren, unterstreicht sie die zentrale Rolle von Bewegung für ihre Arbeit – als Motiv genauso wie als Zeichen der diversen Zugänge zur Kunst und der vielfältigen Verbreitung und Präsentation ihrer Arbeiten. Singh schafft mit ihren „Museen“ Anordnungen, die viele Ausstellungen in sich tragen und den oft starren Strukturen der Kunstinstitutionen eine Absage erteilen. Auch die aufwendigen Bedingungen von Kunsttransporten scheinen durch Koffer und kompakt zusammenklappbare Elemente aufgehoben. Zugleich hat die Idee der portablen Kunst eine gesellschaftspolitische Dimension in Bezug auf Wandel und Diversität. Denn ein Koffer bleibt stets auf Reisen und wird sich nirgendwo auf Dauer niederlassen. Flexibel bleibt die Buch-Künstlerin auch mit ihrem „Book-Cart“ (2011), mit dem sie sich selbst im Raum bewegen und jederzeit eine spontane Widmung schreiben kann, oder mit ihrer Jacke „My Life as a Museum“(2018), die mit ihren neun Taschen genug Platz für ihre Werke in Leporello-Formaten bietet. Die Ausstellung im Museum VILLA STUCK wird im Neuen Atelier sowie in den Historischen Räumen gezeigt. Durch die Begegnung mit Franz von Stucks Werken und dessen Wohnräumen verändern sich Dayanita Singhs „Museen“ ein weiteres Mal. Auf den Malerfürsten und dessen Familie treffen Personen aus Singhs Leben und Werk: etwa ihr Mentor und Tabla-Maestro Ustad Zakir Hussain, der sie von Anfang an unterstützte (Singh lernte von ihm, wie man das Leben einer Künstlerin lebt), und insbesondere Mona Ahmed, ihre engste Freundin und Wegbegleiterin seit 1989. Singh beschreibt Mona als die ungewöhnlichste und einzigartigste Person, die sie je kennengelernt hat. Wie ein roter Faden ziehen sich die wiederkehrenden Aufnahmen Monas – wie auch anderer Personen – durch die gesamte Ausstellung und machen einmal mehr sichtbar wie Singh arbeitet. Für ausgewählte „Museen“ werden Patenschaften übernommen, um sie in regelmäßigen Abständen zu aktivieren. Dies bedeutet, dass die modularen Strukturen selbst, aber auch einzelne Fotografien immer wieder bewegt und neu eingerichtet werden. Die Ausstellung wird sich so über die Wochen hinweg immer wieder verändern und den Besucher\*innen neu begegnen.
Museum Villa Stuck, München

Museum Villa Stuck | Prinzregentenstr. 60
81675 Munich

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posted 08. Feb 2023

Wardell Milan. Recent Work

08. Oct 202202. Apr 2023
08.10.2022 - 02.04.2023 **Wardell Milan Recent Work** Wardell Milan engages with the practices of drawing, photography, painting, and performance to create works of varying scales that center the representation of the human figure. Often arresting and seductive in their dramatic fragmentation of form and vibrant use of color, Milan’s work captivates and encourages sustained consideration. Sustained looking reveals the urgent social issues ever present in his practice, though not always immediately apparent. Based in New York and trained in Tennessee, Milan’s figures reflect American experience relevant to today and emerging from our collective history. Over the fall of 2022 and spring of 2023, the Benton presents Milan’s recent work in two distinct but related presentations: five monumental billboards on the campus of Pomona College, and four large works on paper in the entrance foyer of the museum. The billboards—Milan’s first outdoor campus-based project—lead the viewer on a journey through the college. Inspired by the work of the French philosopher Jean-Luc Nancy, they offer a sustained meditation on the marginalized body, one for each billboard: the quarantined body, the Black body, the migrant body, the female body, and the trans body. The four works on view in the Benton’s entrance foyer similarly employ multiple techniques of image-making—photography, drawing, collage, erasure—to disassemble and reassemble the human form, examining the practice and concept of figuration itself. By making and remaking the body, and by making this process transparent, Milan exposes the emotional vulnerabilities and redemptive possibilities of the physical self, transmuting violence into beauty and isolation into belonging. This project has been made possible by the Fund for Art in Public Places and by the Art Acquisitions and Programs Fund.

artist

Wardell Milan 
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posted 07. Feb 2023

Sharjah Biennial 15 - 2023

07. Feb 202311. Jun 2023
07.02.2023 - 11.06.2023 **Sharjah Biennial 15** Sharjah Art Foundation (SAF) announced a list of over 150 artists from more than 70 countries participating in the 15th edition of the Sharjah Biennial. Conceived by the late Okwui Enwezor and curated by the Foundation’s Director Hoor Al Qasimi, Sharjah Biennial 15: Thinking Historically in the Present reflects on Enwezor’s visionary work, which transformed contemporary art and has influenced the evolution of institutions and biennials around the world, including the Sharjah Biennial. Presented at more than 16 venues across the emirate of Sharjah, including a vegetable market, power station and former kindergarten, the Biennial features many never-before-seen works, including 30 major commissions. Free and open to the public, Sharjah Biennial 15 runs from February 7 through June 11, 2023, with opening week events from February 7 to February 12. “Owkui saw Sharjah Biennial’s 30-year anniversary as an opportunity to reflect on the role that biennials serve in the ecosystem of contemporary art, particularly the Sharjah Biennial itself and the broader Foundation that grew from it. With gratitude to Okwui and the ambitious intellectual project he conceived, we are organising a Biennial that builds on and honours his vision to probe the past, present and future role that biennials and institutions, including the Sharjah Biennial and the Foundation, can serve. We look forward to welcoming local audiences and visitors from around the world to reflect on the themes the Biennial explores and the wide-ranging perspectives of the participating artists,” said Al Qasimi. For Enwezor, the contemporary art exhibition provided a means to engage with history, politics and society in our global present. He envisioned the invitation to curate this edition of the Sharjah Biennial as a way to contribute to the Biennial’s history and that of the overarching Foundation, as well as a means of exploring their role in addressing the need for institutional models outside of the West that support contemporary art production, presentation and dialogue that is responsive to our times. To mark the Sharjah Biennial’s 30-year anniversary, Enwezor proposed commissioning 30 works for the Biennial as a way to meaningfully activate this critical platform through the development of new work. In line with this framework, 30 artists have been invited to embark on major commissions that explore histories that continue to shape our present: John Akomfrah, Kader Attia, Sammy Baloji, María Magdalena Campos-Pons, Carolina Caycedo, Destiny Deacon, Manthia Diawara, Coco Fusco, Hassan Hajjaj, Mona Hatoum, Lubaina Himid, Isaac Julien, Amar Kanwar, Bouchra Khalili, Mohammed Ibrahim Mahama, Kerry James Marshall, Steve McQueen, Almagul Menlibayeva, Aline Motta, Wangechi Mutu, Philippe Parreno, Doris Salcedo, Berni Searle, Yinka Shonibare, Vivan Sundaram, Fatimah Tuggar, Hajra Waheed, Barbara Walker, Nari Ward and Carrie Mae Weems. As another integral part of Enwezor’s plans, the 2022 and 2021 iterations of March Meeting—the Foundation’s annual convening of artists, curators and arts practitioners to explore critical issues in contemporary art—served as a collective prelude to the upcoming Sharjah Biennial 15. March Meeting 2021: Unraveling the Present examined the 30-year history of the Sharjah Biennial and the future of the biennial model; while March Meeting 2022: The Afterlives of the Postcolonial examined the legacies of colonialism and the contemporary impacts of related issues on cultural, aesthetic and artistic practices around the world. March Meeting 2023 continues the exploration of the Sharjah Biennial 15 themes while the exhibition is on view, from March 9 to 12, 2023. Thinking Historically in the Present is being realised by Al Qasimi as curator in conjunction with the Sharjah Biennial 15 Working Group, comprised of Tarek Abou El Fetouh (independent curator); Ute Meta Bauer (professor and Founding Director of NTU CCA Singapore); Salah M Hassan (professor and art historian, Cornell University and Director of The Africa Institute, Sharjah); Chika Okeke-Agulu (professor and art historian, Princeton University); and Octavio Zaya (independent curator, art writer and Executive Director of the Cuban Art Foundation). Al Qasimi and the Working Group are overseeing the development and implementation of the Biennial with an Advisory Committee that includes Sir David Adjaye (architect) and Christine Tohmé (Director, Ashkal Alwan, Beirut). Sharjah Biennal 15 participating artists Basel Abbas and Ruanne Abou-Rahme, Maitha Abdalla, Fathi Afifi, Hoda Afshar, John Akomfrah, Jawad Al Malhi, Monira Al Qadiri, Farah Al Qasimi, Mounira Al Solh, Moza Almatrooshi, Marwah AlMugait, Hangama Amiri, Brook Andrew, Malala Andrialavidrazana, Rushdi Anwar, Kader Attia, Au Sow Yee, Dana Awartani, Omar Badsha, Natalie Ball, Sammy Baloji, Mirna Bamieh, Pablo Bartholomew and Richard Bartholomew, Shiraz Bayjoo, Bahar Behbahani, Asma Belhamar, Diedrick Brackens, Maria Magdalena Campos-Pons, Cao Fei, Carolina Caycedo, Ali Cherri, Wook-kyung Choi, Iftikhar Dadi and Elizabeth Dadi, Solmaz Daryani, Annalee Davis, Destiny Deacon, Manthia Diawara, Imane Djamil, Anju Dodiya, Kimathi Donkor, Heri Dono, Tania El Khoury, Nabil El Makhloufi, Rehab Eldalil, Ali Eyal, Marianne Fahmy, Brenda Fajardo, Raheleh Filsoofi, Nina Fischer and Maroan el Sani, Coco Fusco, Flavia Gandolfo, Theaster Gates, Gabriela Golder, Gabrielle Goliath, Yulia Grigoryants, Joana Hadjithomas and Khalil Joreige, Hassan Hajjaj, David Hammons, Archana Hande, Fathi Hassan, Mona Hatoum, Lubaina Himid, Laura Huertas Millán, Saodat Ismailova, Isaac Julien, Saddam Jumaily, Patricia Kaersenhout, Robyn Kahukiwa, Reena Saini Kallat, Hanni Kamaly, Amar Kanwar, Bouchra Khalili, Naiza Khan, Kiluanji Kia Henda, Ayoung Kim, Emily Kame Kngwarreye, Hiroji Kubota, Nusra Latif Qureshi, Lee Kai Chung, Ibrahim Mahama, Waheeda Malullah, Maharani Mancanagara, mandla, Lavanya Mani, Kerry James Marshall, Queenie McKenzie, Steve McQueen, Marisol Mendez, Almagul Menlibayeva, Helina Metaferia, Kimowan Metchewais, Meleanna Meyer, Joiri Minaya, Tahila Mintz, Roméo Mivekannin, Tracey Moffatt, Aline Motta, Wangechi Mutu, Eubena Nampitjin, Dala Nasser, Pipo Nguyen-Duy, Mame-Diarra Niang, Shelley Niro, Thenjiwe Niki Nkosi, Elia Nurvista, Okwui Okpokwasili, Kambui Olujimi, Zohra Opoku, Erkan Özgen, Pak Khawateen Painting Club, Pushpakanthan Pakkiyarajah, Hyesoo Park, Philippe Parreno, Angela Ponce, Prajakta Potnis, Anita Pouchard Serra, Jasbir Puar and Dima Srouji, Michael Rakowitz, Umar Rashid, Wendy Red Star, Veronica Ryan, Doris Salcedo, Abdulrahim Salem, Sangeeta Sandrasegar, Varunika Saraf, Khadija Saye, Berni Searle, Mithu Sen, Nelly Sethna, Aziza Shadenova, Smita Sharma, Nilima Sheikh, Yinka Shonibare, Felix Shumba, Semsar Siahaan, Mary Sibande, Kahurangiariki Smith, Inuuteq Storch, Vivan Sundaram, Pamela Phatsimo Sunstrum, Obaid Suroor, The Living and the Dead Ensemble, Hank Willis Thomas, Akeim Toussaint Buck, Fatimah Tuggar, Hajra Waheed, Barbara Walker, Wang Jianwei, Nari Ward, Carrie Mae Weems, Nil Yalter
Sharjah Biennial

Sharjah Art Museum
Sharjah

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posted 06. Feb 2023

Jaro Varga. In Someone Else's Game

02. Feb 202325. Mar 2023
02.02.2023 - 25.03.2022 **Jaro Varga. In Someone Else's Game** We invite you to the opening event of Jaro Varga’s solo show, “In Someone Else’s Game,” on Thursday, February 2nd, between 6-9 pm. The artist will conduct an in-depth guided tour through the exhibition at 7 pm. “In Someone Else’s Game” is a project developed by Jaro Varga in the past two years, starting as a critical research on the stereotypes of Native Americans’ representation in literature, especially in the popular phenomenon of Karl May’s novels. The artist aims at a possible rewriting of these troubled common places by means of artistic gestures, in new works created for this context. Devised as a playground for thought, the exhibition employs the apparently innocent, yet subversive approach of game-playing in order to render a more just and inclusive counter-narrative to the ‘Cowboys and Indians’ genre – be it in literature, film, or children’s games. Inspired by his own personal history of childhood books, movies and games, Jaro Varga creates four site-specific ‘games’ of unlearning, deconstructing and revisiting cultural tropes and clichés deep embedded in our cultural subconscious. The first is the “Game of Books and Covers”, a strategy previously used by the artist in diverting the message of a book by overlapping it with a counter-cover, thus creating a new body of knowledge that bridges together past and present ideologies. The second is the “Game of Small Statues”, in which a carpet from the ‘80s becomes a backdrop mapping new typologies of characters, representatives of marginal or excluded groups from the official, heteronormative depiction of the ‘Wild West’: women, transgender persons, people of Asian or African American descent, etc. The third game is a “Film” made of fragments cut-out from the “Winnetou” movies of early ‘60s and recombined in the guise of a homoerotic romance – a strong taboo inside the cowboy culture. The fourth and final game is the “Book Illustrations” chapter, with drawings inspired by Patricia Nell Warren’s novels, the first widely popular bestsellers depicting gay narratives. “In my childhood, I collected and redrew postcards, made bows, arrows and headdresses, watched The Treasure of the Silver Lake with bated breath, mourned the death of Winnetou, memorised the names of Native American tribes, drew imaginary prairies on maps, invented chiefs’ names, wrote a book. These days, I’m returning to childhood play. I am creating a new section of Karl May’s novels (set in the U.S. Old West) which reveals a critical look at the tradition of ‘playing Indians’ in our environment, especially in the context of German literature and culture where ‘playing Indians’ has been deeply rooted since the nineteenth century. As in my childhood, anew, I redraw illustrations from books onto transparent covers. I overlay motifs and try to put them into critical relationships. Play can be an effective ideological-didactic tool. Relatively unopposed by us, it inculcates power schemas, racism, violence.” (Jaro Varga) Jaro Varga (b. 1982, Slovakia) is an artist and curator who lives and works in Prague, Czech Republic. He earned a master’s degree and a PhD from the Academy of Fine Arts and Design in Bratislava. His projects were shown in solo and group exhibitions, including “The Artist’s Book Triennial” (Book Art Museum, Łódź, Poland, 2022), “The Yellow Book” (solo show, Chiquita Room, Tàpies Foundation, Arús Library, Museum Picasso, Barcelona, 2021), Triennial Kortrijk (Paradise, Belgium, 2021), “Secret Language” (Ivan Gallery, Bucharest, 2021), Triennal 2021 (Museum of Arts, Olomouc, Czech Republic), “History is His Story” (NEST ruimte voor kunst, The Hague, 2019), “SIGNAL – The Story of Slovak (Post)conceptual Art” (Ludwig Museum Budapest, 2019), “Traveling to the End” (National Museum of Modern and Contemorary Art, ChangDong, Seoul South Korea, 2019), “I Found It Somewhere but I Cannot Find It” (solo show, site-specific installation in an old synagogue, Samorin, Slovakia, 2018), “When Artists Speak Truth” (The 8th Floor Gallery, New York, 2016), among others. “In Someone Else’s Game” is the artist’s second solo show at Ivan Gallery, after the 2017 exhibition “Missing Something and Itself Missing”. The exhibition can be visited in Ivan Gallery’s space inside Atelierele Malmaison on Calea Plevnei 137C, B side, 1st floor, until the 25th of March 2023, Wed-Sat 1-6 pm, or by appointment outside the visiting hours. Project supported using public funding by Slovak Arts Council.

artist

Jaro Varga 
Ivan Gallery, Bucharest

Dr. Dimitrie Grecescu 13
050598 Bucharest

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posted 05. Feb 2023

Gego - Measuring Infinity

19. Sep 202205. Feb 2023
Gego: Measuring Infinity October 19, 2022–February 5, 2023 Gallery 2 This international survey of the work of Gertrud Goldschmidt, known as Gego (Hamburg, 1912 – Caracas, 1994)—one of the most important postwar artists in Latin America—charts her interdisciplinary artistic production through different yet interrelated fields: architecture, design, sculpture, drawing, printmaking, fabric, site-specific installations, spatial interventions, public art and pedagogy. Arranged chronologically, the exhibition includes over 120 works in a variety of media from the early 1950s to the early 1990s, encompassing every period in the artist’s production. Gego: Measuring Infinity is organized by Museo Jumex, Mexico City; the Solomon R. Guggenheim Museum, New York; and Museu de Arte de São Paulo Assis Chateaubriand—MASP. The exhibition was developed by Julieta González, Artistic Director, Instituto Inhotim, Brumadinho, Brazil; Geaninne Gutiérrez-Guimarães, Associate Curator, Guggenheim Museum Bilbao, and Solomon R. Guggenheim Museum and Foundation, New York; Pablo León de la Barra, Curator at Large, Latin America, Solomon R. Guggenheim Museum and Foundation, New York, and former Adjunct Curator of Latin American Art, Museu de Arte de São Paulo Assis Chateaubriand—MASP; in collaboration with Tanya Barson, former Chief Curator, Museu d’Art Contemporani de Barcelona; and Michael Wellen, Senior Curator, International Art, Tate Modern, London. Coordinated at Museo Jumex by Cindy Peña, Curatorial Assistant.

artist

Gego 
Museo Jumex, Mexico City

Museo Jumex, Miguel de Cervantes Saavedra 303
11520 Mexico City

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posted 04. Feb 2023

Reuben Paterson - Guide Kaiārahi

10. Jul 202131. Dec 2024
10 Jul 2021 — 31 Dec 2024 **Reuben Paterson Guide Kaiārahi ** Reuben Paterson’s much-anticipated major new sculpture Guide Kaiārahi, 2021, a 10-metre-high waka (canoe) made of 595 iridescent crystals, was revealed at Auckland Art Gallery on July 8, 2021. Commissioned by Auckland Art Gallery and Edmiston Trust, Aotearoa New Zealand artist Reuben Paterson (Ngāti Rangitihi, Ngāi Tūhoe, Tūhourangi) says Guide Kaiārahi navigates a spectacular journey from Papatūānuku (the earth mother) into the embrace of Ranginui (the sky father). “As the crystals illuminate the Gallery in rainbow refractions, the waka appears to venture skyward, seemingly levitating above the forecourt pool,” he says. The inspiration for the crystalline sculpture is the legend of the sighting of a “phantom waka” on Lake Tarawera 11 days before the devastating eruption of Mt Tarawera in 1886 which resulted in the loss of life and displacement, and destroyed New Zealand’s iconic Pink and White Terraces. “In the early hours of June 10, 1886, our ancestral mountains Wāhanga, Ruawāhia and Tarawera split apart, spewing forth millions of tonnes of ash and debris. By floating Guide Kaiārahi above the Gallery’s pool, he appears magical—an apparition that floats in the sky while having a narrative linked closely to our own history. He guides us as an escort into unknown or unmapped territories, in much same way as the waka of our migration journeys to Aotearoa,” Paterson says. Hovering above Auckland Art Gallery’s forecourt pool like a compass needle in vertical orientation or a rocket, the waka sculpture suggests navigation to worlds beyond our own. It also refers to early navigators’ use of stars to traverse the vast Pacific Ocean to Aotearoa. Combining references to natural and supernatural realms, the sculpture draws upon Māori cosmology and creation narratives. It also has as a personal resonance for Paterson as his Ngāti Rangithi kaumātua describe their iwi, who descend from the Te Arawa waka of the Bay of Plenty, as “Te Heketanga-a-rangi,” those who descend from the celestial heavens, in reference to their tūpuna, Ohomairangi. Commissioned by Auckland Art Gallery Toi o Tāmaki, Guide Kaiārahi is owned and generously supported by the Edmiston Trust.
Auckland Art Gallery, Auckland

TOI O TAMAKI | Corner Kitchener and Wellesley Streets
Auckland

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posted 03. Feb 2023

Pia Fries

03. Feb 202309. Jul 2023
03.02.2023  — 09.07.2023 Pia Fries Unbestritten gehört Pia Fries seit den 1990er-Jahren international zu den wichtigen Positionen innerhalb der Malerei. Geboren 1955 in Beromünster, CH, zog sie in den 1980er-Jahren nach Düsseldorf, um an der dortigen Kunstakademie bei Gerhard Richter zu studieren, deren Meisterschülerin sie wurde. Sie entwickelte ihr eigenes, unverkennbares Werk, das über die Materialität des Gemalten die Möglichkeiten von Malerei und Raum erkundet. Für den von ihr entwickelten neuen, freien und zugleich offenen Malereibegriff wurde Pia Fries sowohl mit zahlreichen Preisen ausgezeichnet und zu renommierten Ausstellungen wie etwa die Biennale in Venedig eingeladen als auch auf mehrere Professuren berufen. Die Ausstellung im Kunsthaus Baselland zeigt neben Arbeiten ab den 1990er-Jahren erstmals in der Schweiz ihre aktuellsten Werke, mit denen Pia Fries einen neuen künstlerischen Schritt geht. Ein Katalog begleitend zur Ausstellung ist in Planung. KuratorIn: Ines Goldbach

artist

Pia Fries 

curator

Ines Goldbach 
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posted 02. Feb 2023

Hans HARTUNG. Revenge

12. Jan 202318. Feb 2023
New York, 130 Orchard Street 12.01.2023 - 18.02.2023 **Hans HARTUNG Revenge**

artist

Hans Hartung 
PERROTIN NEW YORK

PERROTIN | 130 Orchard Street
NY 10002 New York

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posted 01. Feb 2023

Isaac Julien: Lina Bo Bardi—A Marvellous Entanglement

28. Jan 202329. May 2023
28.01.2023 - 29.05.2023 **Isaac Julien: Lina Bo Bardi—A Marvellous Entanglement** Across nine screens, Isaac Julien’s Lina Bo Bardi—A Marvellous Entanglement (2019) explores the life, work, and legacy of the Italian-Brazilian modernist architect Lina Bo Bardi (1914–1992). Born in Rome, Italy, and relocating to São Paulo, Brazil in the 1940s, Bo Bardi was a multifaceted artist and thinker who developed an architectural practice rooted in the social potential of space and the fusion of Italian and Brazilian culture and aesthetics. Emphasizing improvisation, recycling existing spaces, and utilizing novel building materials, Bo Bardi designed some of Brazil’s most iconic art and cultural institutions, including the São Paulo Museum of Art, the Museum of Modern Art of Bahia, SESC Pompéia, and the Teatro Oficina. In a new arrangement imagined by Julien specifically for this presentation, A Marvellous Entanglement establishes a vital architectural dialogue between Bo Bardi’s visionary buildings and the Williams Forum, the central space of Frank Gehry’s expansion project. Through a carefully constructed choreography of sound and moving images, Julien combines six years of archival research, on-location footage shot across multiple Bo Bardi-designed buildings, voice and dance performances, and recitations of Bo Bardi’s writings by two actresses. Quoting Bo Bardi in his title, Julien invokes her spirit and points to the liberatory possibilities of non-linear histories within global circulations of art and culture. This exhibition is organized in conjunction with multiple cultural partners across Philadelphia including the Barnes Foundation; BlackStar Projects; Institute of Contemporary Art, University of Pennsylvania; and The Fabric Workshop and Museum, on the occasion of the Barnes Foundation’s centennial and newly commissioned film installation, Once Again…(Statues Never Die) on view June 19–September 4, 2022.

artist

Isaac Julien 
Philadelphia Museum of Art

26th Street and the Benjamin Franklin Parkway
PA-19130 Philadelphia

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posted 31. Jan 2023

Vincent Meessen. After / D’après / Na

18. Nov 202226. Mar 2023
opening: 17. Nov 2022 07:00 pm
18.11.2022 - 26.03.2023 Opening: 17.11.2022, 7–11pm **Vincent Meessen After / D’après / Na** CIVA is pleased to present Vincent Meessen’s exhibition After / D’après / Na, the inaugural project of Research in Residence, a collection-based transdisciplinary research initiative for architects, artists, landscape designers, academics, and critics. Research in Residence renegotiates the terrain between the often hermetic sphere of archives and their public exposure. The program supports innovative research through various forms: exhibitions, installations, podcasts, talks, essays, performances, and more. Intellectual exchange that emerges from long-term dialogue is at the heart of this pilot project, which intends to go beyond a mono-historical perspective in favor of nonlinear interpretations of CIVA’s collection. Research in Residence is a platform for projects that challenge current research norms and promote alternative modes of knowledge production and distribution. Artist Vincent Meessen inaugurates CIVA’s new research residency program. In his exhibition After / D'après / Na, architecture is integrated into an environment and its various cohabitants, human and nonhuman alike. The exhibition weaves together two types of architecture that characterize La Garenne, a rural plot on the outskirts of Brussels: the Art Nouveau cottage, exemplified by a demolished work by Léon Sneyers (whose archive is part of the CIVA collection), and the contemporary house, as articulated by OFFICE Kersten Geers David Van Severen and their design on the same site. The exhibition, located at the crossroads of architecture, contemporary art, and ecology, will be accompanied by a program of events including a screening of Meessen’s early video works and a guided tour of the CIVA Collections by the artist. Vincent Meessen lives and works in Brussels. Meessen’s work has been presented at WIELS (Brussels, 2016), BOZAR (Brussels, 2017), Centre Georges Pompidou (Paris, 2018), the Power Plant (Toronto, 2019), and in numerous biennials including those in Venice (2015), Taipei (2016), Shanghai (2018), Chicago (2019), Lubumbashi (2019), São Paulo (2021), Dakar (2022), and Berlin (2022). Artistic Director: Nikolaus Hirsch / Curators: Francis Carpentier, Silvia Franceschini
CIVA Brussels

Rue de l’Ermitage 55
1050 Brussels

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posted 30. Jan 2023

Rebecca Horn. Labyrinth of the Soul: Drawings 1965-2015

07. Jan 202318. Feb 2023
07.01.2023 - 18.02.2023 **Rebecca Horn. Labyrinth of the Soul: Drawings 1965-2015** Sean Kelly is delighted to announce Labyrinth of the Soul: Drawings 1965-2015, a major exhibition featuring fifty years of drawing by Rebecca Horn. This historical presentation, which includes rarely seen works on paper, will open in the New York gallery in January before traveling to Sean Kelly, Los Angeles in March, two cities in which Horn lived and for which she has a strong affinity. Horn’s first exhibition with the gallery in nine years, this significant survey will be the first opportunity for visitors to see many of these critically important works, most of which have never been shown in the United States. The occasion also marks the thirty-four-year professional relationship between Rebecca Horn and Sean Kelly. This extraordinary exhibition, which includes 55 works on paper, is the first dedicated exclusively to this aspect of Rebecca Horn’s practice, and the most extensive presentation of her work in the United States since her major retrospective at the Guggenheim Museum, New York, in 1993, curated by Germano Celant. From her earliest stages as an artist, drawing has been foundational and informed every aspect of Horn’s multi-faceted oeuvre, ranging from performances, which utilize bodily extensions, to feature films, poems, dynamic sculptures, and site-specific installations. Throughout her career, drawing has occupied a central role, with Horn working serially at different moments to create specific bodies of work, ranging from smaller, more intimate pieces to the later, large Bodylandscape works on paper. The earliest works in the exhibition, dating from the mid-1960s, evince Horn’s concern with the human form, bodily appendages, states of transformation, mechanization, and machinery, making evident her dedication to the aesthetic form of performance. In 1968, Horn was hospitalized for a debilitating lung condition brought on by certain sculptural materials she was using. A subsequent period of convalescence at a sanitorium inspired a series of sculptures concerned with the body, isolation, and physical vulnerability. These themes became the artist’s subject, and her proposals for sculptures are documented in these early drawings. Other works, from the 1980s, 1990s, and 2000s, demonstrate the myriad approaches Horn has taken to the form, with each cycle of drawings having a distinct tempo, like the cadence of the poetry or rhythm of the music that have continuously inspired her. For her smaller drawings, Horn often worked simultaneously across multiple sheets of paper laid out before her, adding marks and details as she moved delicately and quickly, fluttering across the paper’s surface like a butterfly, touching down on each sheet at various intervals to make her marks. From around 2003-2015, Horn produced an impressive group of large-scale works referred to as Bodylandscape, paintings on paper that extended her interest in the body as machine into an autobiographical, performative arena. Incorporating pencil, acrylic, and watercolor and gouache with text, these energetic works are scaled to the artist’s own proportions, defined by the limit to which her arms could extend when building the sometimes-frenzied compositions through the movements and actions of her own body. Horn’s progression from attaching performative apparatus to her body in her early work, to creating mark producing automatons and sculptural machines, is synthesized in these stunning works, which replace the replicant machine with the body of the artist, bringing the arc of her career full circle. In 2015, Horn suffered a devastating stroke, which sadly left her unable to continue making drawings, resulting in these psychologically charged works being among the final and finest works on paper that she produced. Following the New York installation of Labyrinth of the Soul, the exhibition will travel to Sean Kelly, Los Angeles, marking a homecoming of sorts for the artist. Rebecca Horn lived in Los Angeles from 1972-73 and was active with a circle of artists including John Baldessari and Eric Orr, amongst others. This will be the most significant presentation of Horn’s work on the West Coast since her 1990 exhibition at MOCA, Los Angeles, entitled Driving through Buster’s Bedroom, which was curated by Elizabeth Smith. Labyrinth of the Soul will provide viewers newfound insight into the artist’s practice and offer intriguing discoveries regarding Horn’s formal and informal relationships with artists ranging from Joseph Beuys, Marcel Duchamp, Jean Tinguely, Méret Oppenheim, Willem deKooning, and Hans Bellmer, amongst others. Horn has been the subject of major solo exhibitions at venues around the world, including the Museum Tinguely, Basel; Centre Pompidou-Metz, France; Lehmbruck Museum, Duisburg, Germany; Tate Modern, London; the Multimedia Art Museum, Moscow; the National Gallery of Modern Art (NGMA), New Delhi; the Harvard Art Museums, Cambridge; Fondation Cartier pour l’art contemporain, Paris; the Irish Museum of Modern Art, Dublin; MOCA, Los Angeles; the Neue National Galerie, Berlin; the Kunsthalle Wein; the Serpentine Gallery, London; the Solomon R. Guggenheim Museum, New York; the Museum of Contemporary Art, Chicago; the Centre d’Art Contemporain, Geneva; the Kunsthaus Zürich; and the Anthology Film Archives, New York, amongst others. She has been included in group exhibitions at institutions including LACMA, Los Angeles; MoMA P.S.1, Long Island City, New York; The Whitney Museum of American Art, New York; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; the Royal Academy of Arts, London, UK; San Francisco Museum of Modern Art, CA; Martin-Gropius-Bau, Berlin, Germany; and MAMbo – Museo d’Arte Moderna di Bologna, Bologna, Italy amongst others. Horn’s work has been presented at this year’s 59th Venice Biennials, as well as the 47th and 42nd editions and at documenta 5 and documenta 9. Her work is included in public collections including the Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Solomon R. Guggenheim Museum, New York; the Stedelijk Museum, Amsterdam, Netherlands; the Tate Gallery, London, United Kingdom; Van Abbenmuseum, Eindhoven, Netherlands; the Walker Art Center, Minneapolis, Minnesota; the Castello di Rivoli Museum of Contemporary Art, Turin, Italy; the Centre Georges Pompidou, Paris, France; and the Centro Andaluz de Arte Contemporáneo, Seville, Spain, to name a few. She has been the recipient of numerous awards including the 2017 Willhelm Lehmbruck Prize, Lehmbruck Museum; the 2016 Ordre pour le mérite des Arts et des Sciences, France; the Grande médaille des arts plastiques from the Académie d’architecture de Paris, 2011; the 2010 Premium Imperiale Prize, Japan, and the 1988 Carnegie Prize.

artist

Rebecca Horn 
Sean Kelly Gallery, New York

475 Tenth Avenue
NY 10018 New York

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posted 29. Jan 2023

Rebecca Horn. Labyrinth of the Soul: Drawings 1965-2015

11. Mar 202322. Apr 2023
11.03.2023 - 22.04.2023 **Rebecca Horn. Labyrinth of the Soul: Drawings 1965-2015** Sean Kelly is delighted to announce Labyrinth of the Soul: Drawings 1965-2015, a major exhibition featuring fifty years of drawing by Rebecca Horn. This historical presentation, which includes rarely seen works on paper, will open in the New York gallery in January before traveling to Sean Kelly, Los Angeles in March, two cities in which Horn lived and for which she has a strong affinity. Horn’s first exhibition with the gallery in nine years, this significant survey will be the first opportunity for visitors to see many of these critically important works, most of which have never been shown in the United States. The occasion also marks the thirty-four-year professional relationship between Rebecca Horn and Sean Kelly. This extraordinary exhibition, which includes 55 works on paper, is the first dedicated exclusively to this aspect of Rebecca Horn’s practice, and the most extensive presentation of her work in the United States since her major retrospective at the Guggenheim Museum, New York, in 1993, curated by Germano Celant. From her earliest stages as an artist, drawing has been foundational and informed every aspect of Horn’s multi-faceted oeuvre, ranging from performances, which utilize bodily extensions, to feature films, poems, dynamic sculptures, and site-specific installations. Throughout her career, drawing has occupied a central role, with Horn working serially at different moments to create specific bodies of work, ranging from smaller, more intimate pieces to the later, large Bodylandscape works on paper. The earliest works in the exhibition, dating from the mid-1960s, evince Horn’s concern with the human form, bodily appendages, states of transformation, mechanization, and machinery, making evident her dedication to the aesthetic form of performance. In 1968, Horn was hospitalized for a debilitating lung condition brought on by certain sculptural materials she was using. A subsequent period of convalescence at a sanitorium inspired a series of sculptures concerned with the body, isolation, and physical vulnerability. These themes became the artist’s subject, and her proposals for sculptures are documented in these early drawings. Other works, from the 1980s, 1990s, and 2000s, demonstrate the myriad approaches Horn has taken to the form, with each cycle of drawings having a distinct tempo, like the cadence of the poetry or rhythm of the music that have continuously inspired her. For her smaller drawings, Horn often worked simultaneously across multiple sheets of paper laid out before her, adding marks and details as she moved delicately and quickly, fluttering across the paper’s surface like a butterfly, touching down on each sheet at various intervals to make her marks. From around 2003-2015, Horn produced an impressive group of large-scale works referred to as Bodylandscape, paintings on paper that extended her interest in the body as machine into an autobiographical, performative arena. Incorporating pencil, acrylic, and watercolor and gouache with text, these energetic works are scaled to the artist’s own proportions, defined by the limit to which her arms could extend when building the sometimes-frenzied compositions through the movements and actions of her own body. Horn’s progression from attaching performative apparatus to her body in her early work, to creating mark producing automatons and sculptural machines, is synthesized in these stunning works, which replace the replicant machine with the body of the artist, bringing the arc of her career full circle. In 2015, Horn suffered a devastating stroke, which sadly left her unable to continue making drawings, resulting in these psychologically charged works being among the final and finest works on paper that she produced. Following the New York installation of Labyrinth of the Soul, the exhibition will travel to Sean Kelly, Los Angeles, marking a homecoming of sorts for the artist. Rebecca Horn lived in Los Angeles from 1972-73 and was active with a circle of artists including John Baldessari and Eric Orr, amongst others. This will be the most significant presentation of Horn’s work on the West Coast since her 1990 exhibition at MOCA, Los Angeles, entitled Driving through Buster’s Bedroom, which was curated by Elizabeth Smith. Labyrinth of the Soul will provide viewers newfound insight into the artist’s practice and offer intriguing discoveries regarding Horn’s formal and informal relationships with artists ranging from Joseph Beuys, Marcel Duchamp, Jean Tinguely, Méret Oppenheim, Willem deKooning, and Hans Bellmer, amongst others. Horn has been the subject of major solo exhibitions at venues around the world, including the Museum Tinguely, Basel; Centre Pompidou-Metz, France; Lehmbruck Museum, Duisburg, Germany; Tate Modern, London; the Multimedia Art Museum, Moscow; the National Gallery of Modern Art (NGMA), New Delhi; the Harvard Art Museums, Cambridge; Fondation Cartier pour l’art contemporain, Paris; the Irish Museum of Modern Art, Dublin; MOCA, Los Angeles; the Neue National Galerie, Berlin; the Kunsthalle Wein; the Serpentine Gallery, London; the Solomon R. Guggenheim Museum, New York; the Museum of Contemporary Art, Chicago; the Centre d’Art Contemporain, Geneva; the Kunsthaus Zürich; and the Anthology Film Archives, New York, amongst others. She has been included in group exhibitions at institutions including LACMA, Los Angeles; MoMA P.S.1, Long Island City, New York; The Whitney Museum of American Art, New York; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; the Royal Academy of Arts, London, UK; San Francisco Museum of Modern Art, CA; Martin-Gropius-Bau, Berlin, Germany; and MAMbo – Museo d’Arte Moderna di Bologna, Bologna, Italy amongst others. Horn’s work has been presented at this year’s 59th Venice Biennials, as well as the 47th and 42nd editions and at documenta 5 and documenta 9. Her work is included in public collections including the Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Solomon R. Guggenheim Museum, New York; the Stedelijk Museum, Amsterdam, Netherlands; the Tate Gallery, London, United Kingdom; Van Abbenmuseum, Eindhoven, Netherlands; the Walker Art Center, Minneapolis, Minnesota; the Castello di Rivoli Museum of Contemporary Art, Turin, Italy; the Centre Georges Pompidou, Paris, France; and the Centro Andaluz de Arte Contemporáneo, Seville, Spain, to name a few. She has been the recipient of numerous awards including the 2017 Willhelm Lehmbruck Prize, Lehmbruck Museum; the 2016 Ordre pour le mérite des Arts et des Sciences, France; the Grande médaille des arts plastiques from the Académie d’architecture de Paris, 2011; the 2010 Premium Imperiale Prize, Japan, and the 1988 Carnegie Prize.

artist

Rebecca Horn 
Sean Kelly, Los Angeles

1357 N Highland Ave
CA 90028 Los Angeles

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posted 28. Jan 2023

screen time

01. Oct 202226. Mar 2023
01.10.2022 – 26.03.2023 Eröffnung: 01.10.2022, 15 Uhr **screen time** Die Welt und die Körper der anderen sind hinter eine Scheibe gerückt. Viele sprechen davon, dass die Pandemie der voranschreitenden Digitalisierung zusätzliche Geschwindigkeit gegeben hat. Auch haben wir bemerkt, wie wichtig uns das Bild unseres Gegenübers ist. Vielfältige computerbasierte Techniken sind selbstverständlicher Teil künstlerischen Arbeitens geworden, ob Handyfotografie, Animation oder QR-Codes und Augmented Reality. Die digitale Technologie ermöglicht mittlerweile die täuschend echt wirkende Rekonstruktion der realen Welt im virtuellen Raum. Künstler:innen loten die Grenzen dieser Techniken aus, stellen die Frage nach der Wirklichkeit der virtuellen Welten und reflektieren die immer engere Kooperation von Mensch und Maschine. Wie verändert sie unser Verhalten, unsere Wahrnehmung von Realität, unsere Vorstellungswelt? Für die Ausstellung »screen time – digitale Wirklichkeiten« wurde eine Auswahl von 18 künstlerischen Positionen getroffen, die sich mit Bildphänomenen vor und hinter dem Bildschirm auseinandersetzen. Kurator Marcel Schumacher hat ihre Werke zu einem Ausstellungsessay arrangiert, der einen Bogen schlägt von Stanislaw Lem durch den »Maschinenraum« bis in Räume, die zumindest gedanklich hinter der Bildschirmoberfläche liegen. Willkommen beim digitologischen Weltkongress! Künstlerinnen Banz & Bowinkel, Tim Berresheim, Louisa Clement, Catherina Cramer, Dan Dryer, Philipp Goldbach, Tim Gorinski, Manuel Graf, Alex Grein, Fabian Heitzhausen, Florian Kuhlmann, Lukas Marxt, Camilo Sandoval / Vered Koren, Ji hyung Song, Lucia Sotnikova, Lex Rütten & Jana Kerima Stolzer, Julia Weißenberg
Kunsthaus NRW Kornelimünster, Aachen

KUNSTHAUS NRW | Abteigarten 6
52076 Aachen

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posted 27. Jan 2023

MARINA ABRAMOVIĆ. Gates and Portals

24. Sep 202205. Mar 2023
Modern Art Oxford OXFORD, UK September 24, 2022 - March 5, 2023 Pitt Rivers Museum OXFORD UK September 24, 2022 - April 2, 2023 **MARINA ABRAMOVIĆ. Gates and Portals** “This is an attempt to do something different, because in a normal exhibition you’re just a silent witness. At Modern Art Oxford, rather than just viewing artworks in front of you, you will be partaking in an experience that will be happening to you.” – Marina Abramović Pioneering performance artist Marina Abramović (b. 1946, Belgrade, lives and works in New York) presents a new site-specific performance-based exhibition at Modern Art Oxford. Gates and Portals explores transitional states of being, with each visitor participating as a performer with a small group of others. During the exhibition visitors will encounter gates and portals that prompt contemplation of bodily awareness and elevated consciousness. The exhibition was developed following a research residency at the Pitt Rivers Museum, Oxford in summer 2021. To complement Gates and Portals, a case installation of a film and new drawings made by the artist during her residency will be on display at the Pitt Rivers Museum.
Modern Art Oxford °

30 Pembroke Street
GB-0X1 1BP Oxford

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posted 26. Jan 2023

Gerhard Richter. Overpainted Photographs

19. Jan 202317. Feb 2023
opening: 19. Jan 2023 06:00 pm
19.01.2023 - 17.02.2023 Opening Thursday, 19.01.2023, 6 — 8 pm **Gerhard Richter. Overpainted Photographs** With the exhibition Gerhard Richter | Overpainted Photographs, Sies + Höke presents 65 works dating from the years 1989 to 2018. The works represent a significant part of Richter's œuvre, embodying the interface between the representation of photographic image content and abstract painting. On the occasion of the opening Dieter Schwarz will host a speech. An accompanying catalogue is forthcoming, including an essay by Siri Hustvedt as well as new texts by Dietmar Elger and Mark Godfrey. Gerhard Richter’s history of using or referring to photographs in one way or another is long and complex, but whatever he does with an actual photo or the idea of a photo, it always feels reinvented. — Siri Hustvedt on Gerhard Richter in Truth and Rightness
Sies + Höke, Düsseldorf

Poststr. 2 / Poststr. 3
40213 Dusseldorf

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posted 25. Jan 2023

Living Pictures: Photography in Southeast Asia

02. Dec 202220. Aug 2023
02.12.2022 - 20.08.2023 **Living Pictures: Photography in Southeast Asia** National Gallery Singapore presents Living Pictures: Photography in Southeast Asia, the first-ever major survey of photography from the region. Despite its undeniable power to shape historical narratives and change perspectives, the medium has largely been left out of both photographic and art histories of the region. With over 300 photographs, Living Pictures seeks to draw out this history, framed by a pivotal question: what do photographs do? Living Pictures begins in the 1800s, with exoticising images of the region and its people captured by European photographers for European eyes. As cameras became more accessible, those once subject to its othering gaze seized the means to create images of themselves, resulting in a variety of studio portraits that hint at modes of self-fashioning and performance. These early photographs have shaped our understanding of Southeast Asia through the centuries. Photography has shared a contentious relationship with reality, most evidently in photographs created for documentary purposes. Compelling images from the Second Indochina War, including from former Associated Press photographer Nick Ut, Vietnamese photographer Võ An Khánh and late Singaporean photojournalist Terence Khoo, challenge notions of the neutrality of documentary photography and its functions as it circulates in the public domain. As the exhibition moves into the present, increasing awareness of its subjectivity brought photography into the artistic realm, which was also part of the larger global turn towards conceptualism and institutional critique. Artists such as Pramuan Burusphat and Nap Jamir II explored and experimented with new methods of image creation. Many turned the camera towards themselves as they contemplated the imaginative space of the image. Dinh Q. Lê’s Crossing the Farther Shore (2014), an immersive weaved structure comprising over 5,000 found photographs from pre-1975 South Vietnam, interweaves personal histories with controversial historical narratives, exploring the tensions between them and the role of photography in memory. Memory and imagination similarly feature in Heman Chong’s God Bless Diana (2004), a shop consisting of postcards of generic images of urban life, each sold to visitors for $1. Chong’s work tests the passive, static nature of the gallery space by encouraging active circulation of his images. Such proliferation of images draws closer to the digital age: digital spaces for circulation and consumption have elevated photography into the dominant visual medium of this generation, and social media, predominantly image-based, continues to shape the way we view the world and engage with each other. Living Pictures ventures into this online world with four notable photographers— Nguan, Shwe Wutt Hmon, Veejay Villafranca and Agan Harahap—presenting a selection of their works on National Gallery Singapore’s Instagram page. Living Pictures: Photography in Southeast Asia is accompanied by an exhibition catalogue with full-colour plates of works from the exhibition and contributions from curators Charmaine Toh, Goh Sze Ying, Roger Nelson, Roy Ng and Kenneth Tay, as well as pre-eminent scholars Alexander Supartono, Daniel Palmer and Kevin Chua.
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posted 24. Jan 2023

Danielle Brathwaite-Shirley & Josèfa Ntjam

02. Dec 202209. Apr 2023
02.12.2022 - 09.04.2023 **Danielle Brathwaite-Shirley & Josèfa Ntjam** The worlds of artists Danielle Brathwaite-Shirley and Josèfa Ntjam collide in a free immersive exhibition. For our winter season, the worlds of artists Danielle Brathwaite-Shirley and Josèfa Ntjam collide in a free immersive exhibition. Working across archives, maps and video games, the artists consider how acts of resistance, rebuilding and reimagining can lead to transformative new worlds. Josèfa Ntjam When The Moon Dreamed of the Ocean 2022 Installation view at FACT Liverpool Photo by Rob Battersby Josèfa’s work reexamines history in the aftermath of colonialism and the Transatlantic slave trade. Her richly layered works reference counter-cultural movements and non-Western histories that symbolise ideas of resistance, transformation and freedom. Josèfa presents these symbols within an interstellar, underground cave filled with jellyfish, plankton and mushrooms. These natural life forms survive by communicating through networks and signals that they create amongst themselves. By drawing parallels between our human behaviour and natural processes, she demonstrates how spaces of solidarity, care and revolution can thrive in darkness. Danielle opens access to new worlds designed with The Bandidos, a group of young people from Liverpool. When Danielle and the group first started working together, she asked: what doesn’t Liverpool have that you need? What does your world need? And, if you had everything you needed to live, what would you want? Danielle creates artworks that archive the experiences of Black Trans people and communities who can be otherwise underserved. Here, she brings to life The Bandidos' imaginative visions, developing a video game that can be explored online and through four portals inside the gallery. Both Danielle and Josèfa’s worlds play with time to shift our view on how the past impacts our present. If conflicting versions of history can exist, so can alternative possibilities for our future. Through their careful observations of archives and understanding of needs, they show us how acts of resistance, rebuilding and reimagining can lead to transformative new worlds. This exhibition will be the final instalment of Radical Ancestry, FACT’s year-long exploration into the sense of belonging. This programme of exhibitions, projects, residencies and events look at how history, geography, biology and culture shape our ancestral history and question how technology can help us to explore new ways of thinking and experimenting with who we are.

artists & participants

Danielle Brathwaite-Shirley,  Josefa Ntjam 
FACT Liverpool

FACT | 88 Wood Street
L1 4DQ Liverpool

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posted 23. Jan 2023

Thilo HEINZMANN

06. Jan 202304. Mar 2023
06.01.2023 - 04.03.2023 **Thilo HEINZMANN** solo show
PERROTIN SHANGHAI

3/F, 27 Hu Qiu Road, Huangpu District
Shanghai

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posted 22. Jan 2023

Christoph Girardet – “A Theory of Ghosts"

10. Dec 202212. Feb 2023
10.12.2022 - 12.02.2023 **Christoph Girardet – “A Theory of Ghosts”** Nordhorn. Vom 10. Dezember 2022 bis zum 12. Februar 2023 zeigt die Städtische Galerie Nordhorn eine Einzelausstellung mit dem Videokünstler und Filmemacher Christoph Girardet (*1966). Für seine Filme, Installationen und fotografischen Arbeiten verwendet er ausschließlich bestehendes Material zumeist aus Kinofilmen, vorwiegend der 1950er und 1960er Jahre, die häufig bereits vergessen sind. Den aufwändig recherchierten Motivsammlungen oder zufällig gefundenen Bildern begegnet Girardet mit einer zentralen Kulturtechnik der filmischen Gestaltung. Mit den Mitteln der Montage gelingt es ihm, die Strukturen und die Ästhetik filmischer Bilder freizulegen, gleichzeitig schafft er neue emotional aufgeladene Werke jenseits von auserzählten Plots und Geschichten. Für die Städtische Galerie Nordhorn hat Christoph Girardet eine Werkauswahl unter dem Titel „A Theory of Ghosts“ zusammengestellt. Unter anderem wird erstmals Girardets neue Arbeit „Jishin“ (japanisch: Erdbeben) von 2022 zu sehen sein. In fünf aufeinanderfolgenden, leicht variierten Kameraperspektiven wiederholt sich ein archaisch anmutender, dramatischer Spezialeffekt für einen Hollywoodfilm der 1940er Jahre: Ein Haus beginnt zu schwanken, Steinlaternen fallen um, ein Akteur verliert den Halt, und am Ende füllen Berge von Trümmern die Leinwand. Die neue Montage des noch ungeschnittenen Rohmaterials ermöglicht einen analytischen Blick auf die klischierte und kulissenhafte Szenerie: Ursache der Katastrophe ist nicht ein Naturereignis, sondern eine wohlkalkulierte Performance. Girardet schlägt Brücken zwischen Genres und Gattungen, zwischen Hochkultur und Unterhaltung, bildender Kunst und Kino oder zwischen fiktionalem und strukturellem Film. Seine einflussreichen und international ausgezeichneten Arbeiten sind sowohl Reflexionen als auch ganz subjektive Interpretationen einer vielgestaltigen vorgefundenen medialen Wirklichkeit. Zur Ausstellung wird eine Publikation erscheinen. Die Eröffnung findet am Freitag, 9. Dezember 2022, um 19 Uhr statt.
Städtische Galerie Nordhorn

STÄDTISCHE GALERIE NORDHORN | Alte Weberei, Vechteaue 2
48529 Nordhorn

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posted 21. Jan 2023

Black Place. Jutta Koether

28. Oct 202216. Apr 2023
28.10.2022 - 16.04.2023 **Black Place. Jutta Koether ** Black Place is Jutta Koether’s first monographic exhibition in Spain, bringing together works spanning more than three decades of her production.   Ever since the early 1980s, Jutta Koether (Cologne, 1958) has been developing an artistic practice grounded in painting and intersected by writing, performance and music, practices that serve to make her undisciplined when it comes to art historiography and seeking her own genealogies. Koether’s work approaches the history of painting in a stealthy, disobedient manner, reclaiming the medium as place for an artistic practice that is informed by feminism. Black Place brings together works in a variety of formats and materialities, from large-scale canvases in which the artist reappropriates works by artists such as Botticelli orRubens – made on the ground in a manner almost akin to performance in places where they were initially exhibited with a sense of immediacy in their making – to medium and small format works on various formats in which Koether often applies other materials, thereby exceeding the limits of traditional painting, influenced by DIY and punk. Although Koether’s work has always featured the history of painting as a subject, her strategies of appropriation have varied, as has the way in which text is introduced into her work. Her focus on various expressions of popular culture is obvious from her earliest works, as well as on other issues related to history and the very logic with which she constructs painting. Black Place is her first exhibition in Spain since 1987, when she jointly presented her work alongside Rosemarie Trockel and Bettina Semmer in an exhibition that was staged at La Máquina Española in Seville. She travelled to New York for the first time in that same year and has lived there ever since 1991, combining this with her time in Berlin and Hamburg, where she teaches at the Hochschule für Bildende Künste (HFBK). Jutta Koether was born in Cologne in 1958. She studied art and philosophy at the University of Cologne and also completed the Independent Study Program at the Whitney Museum of American Art in New York in the early 1990s. Museums and institutions such as Museum Brandhorst in Munich, Mudam Luxembourg, PRAXES Centre for Contemporary Art in Berlin, Moderna Museet in Stockholm, Van Abbemuseum in Eindhoven, Kunsthalle in Bern, the Academy of Fine Arts in Vienna and the Kölnischer Kunstverein in Cologne, among others, have dedicated monographic exhibitions to her work. In addition to her work as an artist, Koether has written for art and music publications such as Spex, Eau de Cologne, Artforum, Texte zur Kunst and Flash Art, and she is the author of several books, including f. (1987). Koether has also collaborated on various projects with the Reena Spaulings collective and with Rita Ackerman, Tony Conrad, Kim Gordon, John Miller, Steven Parrino and Tom Verlaine, among others, in her musical performances. She has been Professor of Painting and Drawing at the University of Fine Arts Hamburg since 2010. Curators: Beatriz Herráez and Catalina Lozano

artist

Jutta Koether 
ARTIUM MUSEOA, Vitoria-Gasteiz °

ARTIUM de Alava | C/ Francia, 24
01002 Vitoria-Gasteiz

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