daily recommended exhibitions

posted 29. Nov 2023

Tunga - Eu, Você e a Lua (Me, You and the Moon)

09. Aug 202328. Jan 2024
August 9, 2023–January 28, 2024 Tunga Eu, Você e a Lua (Me, You and the Moon) Tunga (1952–2016) explored alchemy, psychoanalysis, science and philosophy. Over four decades, he created a unique mythology, in which the issue of immutability and transformation are fundamental. Never before exhibited in Brazil, the installation Eu, Você e a Lua (2015) (Me, You and the Moon) was one of the last major works completed by the artist and will be presented from August 9 to January 28, 2024, at the Sala de Vidro (Glass Room) of the Museu de Arte Moderna de São Paulo (Museum of Modern Art of São Paulo). The exhibition is endorsed by the Tunga Institute. “In Tunga’s poetic reasoning, what is on planet Earth or outside, the internal and external, like me, you and the moon, become an indivisible entirety”, reflects Cauê Alves, chief curator of MAM, in the text accompanying the work. Eu, Você e a Lua (Me, You and the Moon) brings together recurring elements of his oeuvre, such as stones, mirrors, bottles in crystal, plaster or resin, and plates suspended in arcs and rods. The core of the installation is formed by a large, hollow and petrified tree trunk, supported by two tripods. Under the shadow cast by the work in the Glass Room, an amber trails almost the entire length of the trunk. The mirrors that compose the work reflect quartz bottles from above and from below. “The fossil of a tree trunk that remains intact, suspended in time, coexists with the essence of ember. This wood infused fragrance releases drops, as if an hourglass were marking time passing and the transformation of matter. Resorting to the smell and vision, the original and prehistoric elements in the work by Tunga merge with the contemporary and the ephemeral presence of the fragrance”, explains Cauê Alves. The work will be shown at MAM as it was originally exhibited in France in 2015, at the Center d’Arts et de Nature, in Domaine de Chaumont-sur-Loire, with gravel flooring, which constitutes the woody and earthy atmosphere of the environment. Tunga used to imagine the human body rebuilt from landscape and for this reason he assembled disparate elements to create a new sensibility. “I call this the ‘countenance of the moon’. What is at play here is the transmutation of the act of viewing into perfume”, stated the artist in an article by Myriam Boutoulle, “Tunga, l’amour, la lune et l’arbre alchimique,” published in 2015.


mam - Museu de Arte Moderna, São Paulo .

Parque do Ibirapuera, portão 3 - s/nº
04094-000 Sao Paulo

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posted 28. Nov 2023

The Otolith Group …But There Are New Suns

13. Oct 202316. Dec 2023
October 13–December 16, 2023 Preview: October 12, 6–9pm, with conversation between Kodwo Eshun, Anjalika Sagar and Dr. Ranjana Thapalyal **The Otolith Group …But There Are New Suns The Ignorant Art School Sit-in #3 ** Cooper Gallery’s critically lauded five-chapter exhibition and event project The Ignorant Art School: Five Sit-ins towards Creative Emancipation enters its third iteration in Autumn 2023 with Sit-in #3 titled …But There Are New Suns; the first major exhibition in Scotland by the Turner Prize nominated artist collective The Otolith Group. Founded in London in 2002 by Anjalika Sagar and Kodwo Eshun, The Otolith Group practices modes of digital image making, exhibition making and discourse making that seek to activate the chronopolitical potentials of differentiated futurisms. In its recitation of the epigram, written by the great science-fiction novelist Octavia Butler, the exhibition title …But There Are New Suns alludes to an imagination of scale capable of gaining traction upon the multiple alienations differentially experienced by communities living and working in and through the“Racial Capitalocene.” * In approaching digital video as the occasion and the site for the study of study …But There Are New Suns focuses on two installations: What the Owl Knows (2022) and O Horizon (2018). Co-produced with Cooper Gallery, the UK premiere of What the Owl Knows can be characterised as a work that revels in what it does not reveal, a work that attunes the auditor to the tone and the texture of attentiveness devoted by painter Lynette Yiadom-Boakye to the demeanour and the disposition, the manner and the moods within and outwith her paintings. The installation O Horizon (2018) invites audiences to encounter scenes from the life within and outwith Visva-Bharati, the university that extends the art school founded in Santiniketan in West Bengal in 1921 by the polymath Rabindranath Tagore. The studies of study evoked throughout O Horizon offer prismatic insights into the forms and shapes of a Tagorean ethos in the second decade of the 21st century. In embracing Senegalese film director Ousmane Sembène’s idea of cinema as a night school or l’ecole du soir, the events series Sit-in Curriculum #3 celebrates the sociality of moving images as the occasions for the informal study of study. The screenings, discussions, performances and reading groups that constitute the Sit-in Curriculum #3 aim at the interruption and suspension of colonial orders of knowledge production through an open invitation to all that wish to gain traction on the convergence of multiple crises. *See Kathryn Yusoff, A Billion Black Anthropocenes, University of Minnesota Press, 2019 and Françoise Vergès, Racial Capitalocene, Verso Blog Post, 2017. The Ignorant Art School: Sit-in Curriculum #3—DXG: The Department of Xenogenesis The event series, Sit-in Curriculum #3 is conceived and activated in collaboration with The Department of Xenogenesis (DXG), a time space enacted by The Otolith Group. The curriculum is an open invitation for interlocutors to think together critically.

artists & participants

Kodwo Eshun,  Anjalika Sagar,  The Otolith Group 
Cooper Gallery, Dundee

13 Perth Rd
DD1 4HT Dundee

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posted 27. Nov 2023

Lee Ufan

27. Oct 202310. Mar 2024
27. Oktober 2023 – 10. März 2024 Eröffnung: Donnerstag, 26. Oktober 2023, 19 Uhr Lee Ufan Eine Sonderausstellung der Nationalgalerie – Staatliche Museen zu Berlin Der Hamburger Bahnhof präsentiert die erste Retrospektive des Ma- lers und Bildhauers Lee Ufan in Deutschland. Lee zählt zu den wich- tigsten Vertreter*innen der Mono-ha-Schule in Japan und der Dansaekhwa-Bewegung in Korea, die sich parallel zu anderen mini- malistischen Kunstströmungen entwickelte. Die Ausstellung zeigt ca. 50 Werke aus fünf Jahrzehnten seines Schaffens. Lees jahrzehn- telange Auseinandersetzung mit Malerei thematisiert ein außerge- wöhnliches Highlight: Rembrandts berühmtes „Selbstbildnis mit Samtbarett“ (1634) aus der Berliner Gemäldegalerie wird erstmals im Hamburger Bahnhof gezeigt und tritt in Dialog mit Lees raumgrei- fender Installation „Relatum – The Mirror Road“ (2016/2023). So führt Lees Kunst die Besucher*innen in die prägenden Kunstströmungen Japans und Koreas der 1970er-Jahre ein und ermöglicht einen neuen Blick auf eine Ikone der westeuropäischen Kunst. Die Ausstellung gibt einen Einblick in das Werk des koreanischen Künst- lers Lee Ufan (geboren 1936, lebt und arbeitet in Kamakura, Japan), fast 50 Jahre nach dessen erster Ausstellungsbeteiligung in der Kunsthalle Düsseldorf. Lees philosophische Schriften prägten das Künst- ler*innenkollektiv Mono-ha (dt. Schule der Dinge), das von 1968 bis 1975 in Tokio aktiv war. Mono-ha zählt zu den prägendsten Stilen der Nach- kriegskunst in Japan. In den Skulpturen und Installationen verbanden die Künstler*innen Rohmaterialen wie Steine, Äste oder Erde mit Industriema- terialien wie Stahl oder Glas. Dieses Verständnis von Kunst als Neuord- nung der Dinge zeigt etwa Lees Skulpturen-Serie „Relatum“ (ab 1968). In der Dansaekhwa-Bewegung setzten sich koreanische Künstler*innen ab Mitte der 1970er-Jahre mit Abstraktion und Materialität vor allem in mono- chromer Malerei auseinander. Davon zeugen Gemälde aus Lees Serien „From Point“ (ab 1973) und „From Line“ (ab 1978). Im Garten des Muse- ums wird die Skulptur „Relatum“ (1977) aus der Sammlung der National- galerie gezeigt, die erstmals seit 1985 wieder in Berlin zu sehen ist. Wäh- rend der Laufzeit wird eine künstlerische Intervention Lees im Rembrandt- Saal der Gemäldegalerie gezeigt. Lee, der in seinen Werken immer wie- der auf europäische Wurzeln verweist, tritt damit in einen vielschichtigen Dialog mit den Werken Rembrandts. Zur Ausstellung erscheint eine Publikation. Kuratiert von Sam Bardaouil und Till Fellrath, Direktoren Hamburger Bahnhof. Assistenzkuratorinnen: Luisa Bachmann und Lisa Hörstmann, wiss. Museumsassistentinnen i. F. In Zusammenarbeit mit der Lee Ufan Foundation, Arles. Mit großzügiger Unterstützung der Freunde der Nationalgalerie.


Lee Ufan 
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posted 26. Nov 2023

NICE 2023. Film Screening: Like Turtles

26. Nov 202326. Nov 2023
26 Nov 2023, 18:00-19:30 Place Garage Auditorium **NICE 2023. Film Screening: Like Turtles** Director Monica Dugo Italy, 2022, 82 min. DESCRIPTION An Italian tragicomedy about a woman who decides to get over her husband leaving by hiding in the wardrobe. Teenager Sveva and her restless seven-year-old brother Paolo live with caring parents in the center of Rome. The children have no idea that their father Daniele, a respected doctor, has long been tired of the relationship with their mother Lisa but is scared to say so. So, when he takes all of his white shirts from the wardrobe and leaves home, it is a real shock for every member of the family. Lisa cannot cope and decides to live in the wardrobe. Sveva and Paolo don’t know what to do and react to their mother’s behavior in different ways. Sveva is angry and tries to encourage Lisa to comes out, but Paolo is even prepared to part with his favorite panther toy to make his mother’s life in the wardrobe more comfortable. This debut feature by Italian actress Monica Dugo, who also plays the role of Lisa in the film, was first shown at the Venice Film Festival and then at the Festival do Rio (Brazil). Like Turtles is a sensitive and, at first glance, naive film, but in just over an hour the director offers a touching story about how to live with loss and pain and how there are no rules for grief. The lead character’s children help her to believe that things can get better and to recover from her difficult past. They are firm in their belief that life is a good thing. The title of the film is also incredibly touching. When he realizes that his mother has moved into the wardrobe, Paolo tells her a story that he heard from his teacher. When winter comes, turtles also move to a secluded place in order to rest and build up their strength.


Monica Dugo 
Garage Museum of Contemporary Art, Moscow

Garage Centre for Contemporary Culture, | Gorky Park, 9/32 Krymsky Val St.
119049 Moscow

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posted 25. Nov 2023

NICE 2023. Film Screening: Spotty and Me

25. Nov 202325. Nov 2023
25 Nov 2023, 18:00-19:30 Place Garage Auditorium **NICE 2023. Film Screening: Spotty and Me** DESCRIPTION An Italian comedy about how there are no rules when it comes to love. The lead is played by Filippo Scotti, star of Paolo Sorrentino’s Hand of God. Eva is a charming but scatterbrained law student. Matteo is only 22, but he is a talented animator and is already working for a serious Italian company. She is sociable and loves to have fun, but money is always an issue, and he leads a quiet life in a huge designer apartment. At first glance these two have nothing in common other than their age. However, soon Spotty, Matteo’s imaginary dog, for whom he hires Eva as a dog sitter, unexpectedly brings them together and helps them deal with their psychological problems. Spotty and Me is a film with a deceptively simple plot. Every day a girl comes to play with a boy dressed as a cute cartoon dog and gets paid for it. But the story’s simplicity conceals a layer of pain and loneliness with which Eva and Matteo have got used to living, and, at the same time, there is much mutual joy as a result of their meetings and relief at finally being understood. This film by Cosimo Gomez, who is known primarily as the designer of numerous Italian films and TV series, is full of nice but subtle details, such as the fact that the lead actor’s sounds similar to that of his alter ego. The cinematographic freedom and desire for escapism in Spotty and Me prompt comparisons with the work of Michel Gondry, another well-known film fantasist. The action of this strange and touching romance takes place against the architectural beauty of Bologna in Italy, which adds yet more charm to this delightful, good-natured, and colorful film by Gomez.


Cosimo Gomez 
Garage Museum of Contemporary Art, Moscow

Garage Centre for Contemporary Culture, | Gorky Park, 9/32 Krymsky Val St.
119049 Moscow

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posted 24. Nov 2023

Dorothy Iannone - Love Is Forever, Isn’t It?

06. Oct 202321. Jan 2024
Dorothy Iannone Love Is Forever, Isn’t It? October 6, 2023–January 21, 2024 The exhibition Love Is Forever, Isn’t It? presents one of the most comprehensive surveys of Dorothy Iannone’s prolific body of work, to be showcased at M HKA. The artistic practice by Dorothy Iannone spanned paintings, artists’ books, video installations, sculptures, drawings, and sound works. In her visual and writing oeuvre, she created a unique relationship between text, image, audio, and sculptural objects, emphasising their narrative and fictional dimensions. The primary focus of this project is the recontextualisation of Iannone’s work, specifically examining its intrinsic performative nature, which has been scarcely investigated until now. The exhibition explores novelistic conventions, narrative threads, relationships between words and images, as well as autofictional and biographical elements within her creations. Iannone examined topics related to female sexuality, which has led to her work being censored on multiple occasions. In her vibrant oeuvre, she explored feelings and emotions, creating an erotic iconography largely inspired by non-Western and Buddhist imagery. She passionately described her intimate friendships and relationships with her muses, artists, and lovers. Though she shared personal and artistic associations with Fluxus, Dorothy Iannone never considered herself part of the movement. Undoubtedly, her transdisciplinary and multifaceted practice establishes a unique dialogue with the neo-avant-garde movements of the 1960s, 70s, and 80s. The exhibition Love Is Forever, Isn’t It? takes viewers on an emancipatory journey towards unconventional love, the celebration of matriarchy, and Eros. As she eloquently stated in one of her texts: “When I painted and wrote and sang and filmed my message, one might call it, it filled all of my mind. And nothing gave me more pleasure than expressing it (almost). If, in any way, I have helped people to come closer to themselves, that would mean a lot to me.“ The publication Love Is Forever, Isn’t It? serves as an extension of the exhibition in collaboration with JRP|Editions. It features essays by Alison Gingeras, Ana Mendoza, and Joanna Zielińska that delve into the concept of performativity, both in artistic terms and in the context of feminism and female sexuality. The book underscores the significance of Dorothy Iannone’s contributions to contemporary art within the international avant-garde while shedding light on the numerous acts of censorship that impacted her artistic journey. The book is set to be released during the exhibition course in 2023. Dorothy Iannone (1933–2022) was an American visual artist renowned for her vibrant and expressive artistic language. Born in Boston, Massachusetts, Iannone initially pursued literature at Boston University before shifting her focus to art in the late 1950s. In the early 1960s, she moved to Europe and became associated with avant-garde art movements seeking to break down artistic boundaries and challenge conventional cultural norms. Throughout her career, Iannone’s art has been deeply autobiographical, reflecting her experiences and relationships. Her work often features vibrant, colourful, and explicit depictions of sexuality and the human body, exploring themes of love, ecstasy, and the pursuit of personal freedom. Her bold and unapologetic approach to sexuality has occasionally led to censorship and exclusion. Iannone’s art has been exhibited in galleries and museums worldwide, her work was presented at: Migros Museum (Zurich), New Museum (New York), Louisiana Museum (Copenhagen), and Berlinische Galerie (Berlin) among other venues. Curator: Joanna Zielińska
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posted 23. Nov 2023

Ana Mendieta: Silhouette on Fire / earth opens paths

19. Sep 202321. Jan 2024
Sesc Pompeia September 19, 2023–January 21, 2024 **Ana Mendieta: Silhouette on Fire / earth opens paths (Ana Mendieta: Silhueta em Fogo / terra abrecaminhos)** “Pain of Cuba/ body I am/ my orphanhood I live In Cuba where you die/ the Earth that covers us/ speaks. But here,/ covered by the earth whose prisoner I am/ I feel death palpitating underneath/ the earth. And so,/ As my whole body is filled with want of Cuba/ I go on to make my work upon the earth,/ to go on is victory.” —Ana Mendieta, 1981 An artist who left marks. Literal ones, etched into stone, and symbolic ones, imprinted in the field of the feminine-subjective, the collective imagination, and the feminist struggle. This is the legacy of Cuban-American Ana Mendieta (1948–1985), whose visceral work is now receiving its first comprehensive exhibition throughout Brazil and Latin America. Starting in September, Sesc Pompeia, an iconic cultural space in São Paulo, will host Silhueta em Fogo | terra abrecaminhos, an exhibition curated by Daniela Labra and Hilda de Paulo, with assistance from Maíra Freitas. This proposal combines a retrospective exhibition of Mendieta’s work with a group show featuring works by 20 contemporary female artists from different generations – daughters of the mestizo diaspora and borderlands. For the curatorial approach of the group show, the curators combined their ongoing research projects to address references such as Gloria Anzaldúa, Donna Haraway, bell hooks, Paul B. Preciado, and Denise Ferreira da Silva. Silhueta em Fogo features Mendieta’s pioneering work in body art, ecology, archetypical femininity, ancestry, healing, ecology, criticism, and performativity. To materialize her original and incisive visual poetry, concerning a diversity of themes, she experimented with a wide range of mediums, including Super-8, photography, wood and clay sculptures, drawings, rural interventions, and actions in domestic spaces. The exhibition presents an unprecedented number of the artist’s historical works, especially films made between 1970–1980 and self-performative photographs, as well as a sculptural proposition. Digitized versions of original 8mm films are shown, along with groups of photographs. Works like the series Untitled (Facial hair transplant) from 1972/1997 show Ana Mendieta in situations that grapple with questions concerning gender and documentation, while others record her corporeal interventions on the earth, also recorded on film. The group show terra abrecaminhos, held in tandem with the historical exhibition, features the work of about 20 female artists, whose works echo archetypical, cultural, political, and spiritual aspects of Ana Mendieta’s work in their eco-feminine symbolism. The curators have invited artists from different generations, daughters of the mestizo diaspora and borderlands, as articulated by Chicana philosopher Gloria Anzaldúa. The works, spanning various mediums including live performances, share numerous aesthetic and political intersections with those of Ana Mendieta. The participating artists in terra abrecaminhos are Amy Bravo, Beth Moysés, Brígida Baltar, Carolee Scheemann, Cecilia Vicuña, Celeida Tostes, Grasiele Sousa, Gil DuOdé, Las Nietas de Nonó, Larissa de Souza, Laura Aguilar, Lia Chaia, Luana Vitra & Iara Izidoro, Márcia X. Panmela Castro, Patricia Dominguez, Puta da Silva, Regina José Galindo, Rica Lee, Rubiane Maia, Sallisa Rosa, Suzana Queiroga, Tadáskía, tatiana nascimento, Virginia Borges, Virgínia de Medeiros, Vitória Basaia, Vulcanica Pokaropa, and Yara Pina.

Servico Social do Comercio - Sesc | Visual Arts and Technology Department | 991 Alvaro Ramos Avenue
03331-000 Sao Paulo

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posted 22. Nov 2023

Dieter Krieg „Allen Malern herzlichen Dank“

23. Nov 202318. Feb 2024
opening: 22. Nov 2023 07:00 pm
23.11.2023 – 18.02.2024 Eröffnung: 22.11.2023, 19 Uhr Der Eintritt ist am Eröffnungsabend frei Dieter Krieg „Allen Malern herzlichen Dank“ Schenkung Dieter Krieg aus der Sammlung Oehmen Seit den 1980er Jahren ist die Sammlung von Lisa und Stephan Oehmen ebenso stetig wie organisch gewachsen. Ihren deutlichen Schwerpunkt in der figurativen Malerei verdankt sie nicht zuletzt der prägenden Begegnung mit Dieter Krieg, sowie der Freundschaft zu Hartmut Neumann, der als langjähriger Professor an der Hochschule für Bildende Künste Braunschweig viele Kontakte zu jungen Absolventen der Hochschule herstellt. Heute reicht das Spektrum der Sammlung von Tim Berresheim und Andreas Schulze, über André Butzer und Miriam Cahn bis hin zu Judith Samen und Pieter Schoolwerth. Innerhalb dieses Konvoluts stellen die rund 40 Arbeiten, die das Ehepaar aus allen Schaffensperioden Dieter Kriegs erworben hat, das Herzstück dar. Dieter Krieg (1937-2005) gehört zu den wichtigen, bis heute aber noch nicht angemessen gewürdigten Vertretern innerhalb der deutschen Malerei der zweiten Hälfte des 20. Jahrhunderts. Nach seinem Studium an der Karlsruher Kunstakademie bei HAP Grieshaber und den frühen konzeptuellen Arbeiten Anfang bis Mitte der 1970er Jahre, entwickelte er sich neben Walter Stöhrer und Horst Antes zu einem der zentralen Vertreter einer Neuen Figuration, die sich gegen das damals vorherrschende Primat der Abstraktion stellten. Dieter Kriegs immer konzeptuell grundierter malerischer Furor entzündete sich am Abbild und am Gegenstand, blieb aber stets verknüpft mit einer kritischen Untersuchung des eigenen malerischen Tuns. Insofern wäre es eine Verkürzung, wollte man Krieg als gegenständlichen Maler bezeichnen. Wichtiger war es ihm die Frage zu provozieren, was wir eigentlich sehen, wenn wir auf seine oft ins Überdimensionale vergrößerten Motive schauen. Mit dem Konvolut aus der Sammlung des Ehepaar Oehmens in Hilden verfügt das Museum nun über einen gültigen und qualitativ hochwertigen Querschnitt durch das Werk Dieter Kriegs. Der Titel der Ausstellung bezieht sich auf eine Arbeit Dieter Kriegs, bei der er innerhalb der Jahre 1975 und 1976 eine Lesung aller in den 36 Bänden des Allgemeinen Lexikons der Bildenden Künstler von der Antike bis zur Gegenwart gelisteten Künstlernamen realisierte.


Dieter Krieg 
Kunstmuseum Bonn

Friedrich-Ebert-Allee 2
53113 Bonn

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posted 21. Nov 2023


05. Oct 202307. Jan 2024
At Serpentine South and in The Royal Parks GEORG BASELITZ: SCULPTURES 2011 - 2015 5 October 2023 – 7 January 2024 Artists including Alvaro Barrington, Huma Bhabha, Tracey Emin, Rashid Johnson, Jenny Saville, Erwin Wurm and Rose Wylie respond to Baselitz’s influence in the accompanying catalogue Serpentine is honoured to present its first solo exhibition of Georg Baselitz (born 1938 in Deutschbaselitz, Saxony) from 5 October 2023 to 7 January 2024. It will include a series of sculptures and drawings as well as a monumental nine-metre-tall sculpture Zero Dom (Zero Dome) within the Royal Parks, presented for the first time in the UK. These pieces offer an intimate glimpse into the artist’s studio practice and explore the frailty of the body in relation to the highly physical and raw processes he employs to make the works. The exhibition follows a long history of presenting sculpture inside its galleries and in the park includingmajor shows of Henry Moore (1978), Anthony Caro (1984), Louise Bourgeois (1985, her first in a UK institution), Alberto Giacometti and more recently Nairy Baghramian and Phyllida Barlow. With a career spanning over six decades, Georg Baselitz emerged in post-war Germany as one of the most influential contemporary artists of his generation. Since 1969, he has inverted the human figure and other motifs in his expressive paintings to sever his works from content and narrative. Instead, Baselitz focuses on form, colour and texture, bringing new perspectives to the tradition of figurative painting. Baselitz turned to sculpture in the 1980s, continuing to explore the tensions between the figurative and the abstract through his crude approximations of figures and body parts carved from wood. Georg Baselitz: Sculptures 2011-2015 will feature 10 wooden sculptures which have never been exhibited before. These works will be presented alongside 68 related drawings rendered in pencil, pen and ink. The exhibition will offer a unique opportunity to gain insights into Baselitz’s sculptural process, highlighting the latest developments of the artist’s practice during this period. Baselitz turned to sculpture in the 1980s, continuing to explore the tensions between the figurative and the abstract through his crude approximations of figures and body parts carved from wood. These wooden sculptures were not originally intended for public exhibition, as they were made as maquettes for bronze works. Each one is carved from a single tree trunk, reduced by using power saws, axes and chisels. This method gives form to solid, impactful figures while maintaining the materiality of timber with distinctive incisions and notches on its surface. The accompanying drawings were made not as preparatory sketches for the maquettes, but during the sculpting phase. Together, the drawings and maquettes highlight the synthesis of Baselitz’s two- and three-dimensional ways of making and explore the possibilities and impossibilities of translating from painting to sculpture, and from sculpture to drawings. Georg Baselitz said: “Sculpture is a thing like a miracle. It is built up, decked out, made arbitrary not as the sign of thoughts but as a thing within the limits of the shape. Even if a sculpture is hung from the ceiling, it remains a thing.” “My carvings are best described by Immanuel Kant: ‘Out of the crooked wood of humanity, nothing entirely straight can be built. It is only the approximation of this idea that nature imposes upon us.’” Bettina Korek, CEO, Serpentine, and Hans Ulrich Obrist, Artistic Director, Serpentine, say: “Serpentine is honoured to stage this incredible body of wooden works and related drawings, which have never been presented to the public before. Aligned with Serpentine’s ethos of spotlighting pioneering figures and following a tradition of presenting outstanding sculpture shows, we are thrilled to introduce these works to the public. The dialogue and resonance with contemporary artists and Serpentine’s history, will shine a new light on Baselitz’s eminent and influential oeuvre.” Highlights will include Sing Sang Zero, 2011, a sculpture continuing Baselitz’s practice of modelling his figurative works on the artist himself and his wife Elke, as well as BDM Gruppe (BDM Group), 2012, a work drawn from his personal childhood memory of three members of the BDM (League of German Girls, a Nazi youth movement), his sister with her friends, walking arm in arm. These tall sculptures reference his personal life and explore how the passing of time informs and affects his practice. Zero Mobil (Zero Mobile), 2013-2014, is suspended from the ceiling, and meditates on mortality through the motif of the skull, poetically using wires to connect pieces. The work embraces the contradictions of humanity and recalls the “vanitas” in which symbolic figures are arranged to convey the fragility of time. Zero Dom (Zero Dome), 2021, a nine-metre-tall patinated bronze sculpture will be installed on the plinth outside Serpentine South with its corresponding raw maquette featured in the show. Made from 5 carvings in the form of legs, it references Baselitz’s fascination in the foot motif. The drawings included in the exhibition will give visitors insights into the artist’s studio and how his sculptural undertaking relates to his two-dimensional practice. They will reveal how the artist considers different approaches to the central themes in his work. Accompanying the exhibition is a catalogue which includes newly commissioned texts by contemporary artists Alvaro Barrington, Huma Bhabha, Tracey Emin, Rashid Johnson, Jenny Saville, Erwin Wurm and Rose Wylie reflecting on Baselitz and how they connect to his work. Collectively, these contributions give the reader insights into how Baselitz’s distinctive practice has influenced and intrigued different generations of artists working across a variety of media. Noble laureate Herta Müller and Norman Rosenthal wrote new poems in response to Baselitz’s sculptures while Michael Baxandall and Eric Darragon provide art historical contextualisation to this body of work. A section by Baselitz himself on his sculpture practice will also feature in the catalogue, as well as an interview between the artist and Hans Ulrich Obrist. It is designed by A Practice for Everyday Life. Alvaro Barrington said: “Baselitz’s works are monumental in the traditional definition of the term: even when small in size, they function as monuments. They often loom above their viewers, who must deal with their scale. But what turns these monumental sculptures on their heads is how deeply they relate to the artist’s body. When I look at the work, I am aware of my body in relationship to the sculpture, but I am more aware of his body, of the relationship the maker has with his work.” Tracey Emin said: “‘[Baselitz’s] art is unapologetic… In the 1990s when it felt to me that the emotional doors of art were closed, [Baselitz was] there forcefully trying to smash them open…[Baselitz] kept the gateways open for artists like me.’” Rose Wylie said: “Exciting to see some new sculpture ….and it’s terrific to see drawings, and more than one, in fact several, which relate to the sculpture; and drawings that also stand alone as drawings… It’s about the excitement of first seeing his work... And about flicking into his show now at the Serpentine. I’m so pleased this later sculpture is coming to London.”
Serpentine Galleries, London

Kensington Gardens
W2 3XA London

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posted 20. Nov 2023

Inquire - Julius von Bismarck

27. Oct 202316. Dec 2023
27.10.2023 - 16.12.2023 **Inquire Julius von Bismarck** A cyborg is a cybernetic organism, a hybrid of machine and organism, a creature of social reality as well as a creature of fiction. Donna Haraway, A Cyborg Manifesto In his solo exhibition In the Beginning, Julius von Bismarck presents our familiar surroundings continually in new guises. Whether clad trees or wrapped plants, the often bizarre-looking scenes are clearly the result of human activity. Yet people are only present here in the form of the effects of their actions. The protagonists of the works are plants and entire landscapes in a highly technical world. As early as 1985, Donna Haraway described in her essay A Cyborg Manifesto how the fusion of machines and living organisms not only produces hybrids, but also the superimposition of social realities and fiction. Human cyborg existence begins with the first items of clothing. It is the moment of origin when humans began to detach themselves from their own environment. Von Bismarck transfers this moment to plants and stages cyborg landscapes that use the progressive technologisation of our environment as a moment of social reflection. The machine-milled aluminium frames of the photo series We Were All Naked (2023) offer a view of alien worlds as if from a spaceship window. Here, whole areas of land are covered with foil, deprived of the air they need to breathe by a hose. Like a spider’s web, plastic film stretches over stones and small trees, transforming them into an unfamiliar environment. The context of the depopulated scene can hardly be surmised. In this series produced especially for the exhibition, von Bismarck confronts us with the fact that it is often impossible for non-human beings to adapt quickly enough to the conditions of their environment, changing due to human technologisation. We humans are able to isolate ourselves from our environment, while most other living things perish when they are removed from their ecosystems. The photo series was created in Madagascar, one of earth’s biodiversity hotspots. Analogous to vacuum-packed produce, the artist here wraps living plants in plastic and vacuum-packs them. Indeed, this deprives them of the air they need to breathe. The plants are preserved in their present state and inevitably die. At the same time, the shiny plastic film mirrors our inability to preserve our own environment. The work Heat Shield (2021) also presents a doomed attempt to preserve a natural monument: The tiled tree in the gallery space is a heat shield, a custom-made garment of tiles for the world’s oldest tree, Old Tjikko, which has defied all forces of nature for 9550 years. The protective cover, whose aesthetics are evocative of technically sophisticated heat shields used in the space industry, may protect the tree from vandalism or fire, but it leaves no room inside for survival. Again, the artist tackles human attempts to intervene in systems that we do not fully understand. The technology that enables us to expand our own living environment simultaneously ensures the disappearance of other forms of life. The artist addresses this displacement, which begins with the mere act of observation, in the video work Geh aus mein Herz! (2023). Waving treetops, grasses blowing in the wind and landscapes shifting with air currents are visible. The acoustic accompaniment by a choir suggests that the breath of the singers sets the treetops in gentle motion. In fact, the movements are created by the strong downdraft of the helicopter from which the artist filmed the terrain in motion. The almost too beautifully staged Alpine landscape is disturbed by the exhaust-breath of the helicopter, which triggers the actual movement of the trees and plants—simultaneously revealing a view that would otherwise be denied to the human eye. Thus, the mere act of observing the landscape brings about a change in it. The soothing, undulating images are accompanied by the hymn Geh aus, mein Herz, und suche Freud, (Go forth, my heart, and seek delight) sung by relatives of the artist. The hymn sings the praise of nature’s beauty as well as the joy in contemplating it and underscores the Christian, monotheistic component of a social construction of nature. The technology that enables us to expand our own living environment simultaneously ensures the disappearance of other forms of life. The artist addresses this displacement, which begins with the mere act of observation, in the video work Geh aus mein Herz! (2023). Waving treetops, grasses blowing in the wind and landscapes shifting with air currents are visible. The acoustic accompaniment by a choir suggests that the breath of the singers sets the treetops in gentle motion. In fact, the movements are created by the strong downdraft of the helicopter from which the artist filmed the terrain in motion. The almost too beautifully staged Alpine landscape is disturbed by the exhaust-breath of the helicopter, which triggers the actual movement of the trees and plants—simultaneously revealing a view that would otherwise be denied to the human eye. Thus, the mere act of observing the landscape brings about a change in it. The soothing, undulating images are accompanied by the hymn Geh aus, mein Herz, und suche Freud, (Go forth, my heart, and seek delight) sung by relatives of the artist. The hymn sings the praise of nature’s beauty as well as the joy in contemplating it and underscores the Christian, monotheistic component of a social construction of nature. About Julius von Bismarck In his works Julius von Bismarck explores people’s ability to perceive, and he uses the laws of physics to challenge the way we are used to seeing things.
Sies + Höke, Düsseldorf

Poststr. 2 / Poststr. 3
40213 Dusseldorf

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posted 19. Nov 2023

Michelangelo und die Folgen

15. Sep 202314. Jan 2024
Michelangelo und die Folgen 15. September bis 14. Jänner 2024 Der Meister der Renaissance: Michelangelo gehört zu jener Handvoll von Künstlern, deren Ruhm seit Jahrhunderten ungebrochen ist. Obwohl seine Kunst und seine Ideale zutiefst im Denken seiner Zeit – der Blütezeit der Renaissance und des fortschreitenden 16. Jahrhunderts – verwurzelt sind, reicht die Wirkung seiner Kunst bis in die Gegenwart. Die Ausstellung zeigt die Wiederentdeckung des antiken Körperideals zu Michelangelos Lebzeiten und die revolutionären Fortschritte in der Darstellung der menschlichen Anatomie. Neben Michelangelo werden Raffael, Dürer, Rembrandt, Rubens, Mengs, Batoni, Klimt und Schiele präsentiert, die jeweils ihre eigene Auffassung des Körpers erarbeiten, sei es durch Nachahmung, Weiterentwicklung oder vehemente Ablehnung des Ideals von Michelangelo. Die Ausstellung ist von 15. September bis 14. Jänner 2024 in der ALBERTINA zu sehen.
Albertina, Wien

Albertinaplatz 1
A-1010 Vienna

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posted 18. Nov 2023

Zerreißprobe. Kunst zwischen Politik und Gesellschaft - Sammlung der Nationalgalerie 1945 – 2000

18. Nov 202328. Sep 2025
opening: 17. Nov 2023 07:00 pm
18. November 2023 – 28. September 2025 Eröffnung: Freitag, 17. November 2023, 19 Uhr **Zerreißprobe. Kunst zwischen Politik und Gesellschaft Sammlung der Nationalgalerie 1945 – 2000** Eine Sonderausstellung der Nationalgalerie – Staatliche Museen zu Berlin Die Kunst der zweiten Hälfte des 20. Jahrhunderts ist durch eine Vielfalt an Materialien, Medien und Methoden bestimmt. Gleichzeitig stand kaum eine Ära so unter dem Zeichen von Teilung und Zerris- senheit aber auch Erneuerung: „Zerreißprobe. Kunst zwischen Poli- tik und Gesellschaft“ heißt diese Sammlungspräsentation der Neuen Nationalgalerie zur Kunst nach 1945 bis zur Jahrtausendwende. Ho- locaust und Krieg, Aufbruch und Emanzipation, Kalter Krieg und Mauerfall führten zu Spannungen innerhalb der Gesellschaft sowie zu fundamentalen Neuausrichtungen in der bildenden Kunst. Titel- gebend ist die radikale Performance des Wiener Aktionisten Günter Brus von 1970, in der er sich bis an seine körperlichen Grenzen dem Zug von Stahlseilen aussetzte. 14 Kapitel greifen zentrale künstleri- sche wie gesellschaftliche Themen des 20. Jahrhunderts auf, etwa die Frage nach Realismus und Abstraktion, Politik und Gesellschaft, Alltag und Pop, Feminismus, Identität oder Natur und Ökologie. Die Ausstellung zeigt Gemälde, Objekte, Fotografien und Videoarbeiten aus der Bundesrepublik und der DDR, Westeuropa und den USA sowie künstlerische Entwicklungen aus den ehemaligen sozialistischen Staaten. Zu sehen sind Werke des Informel, der US-amerikanischen Farbfeldmale- rei, des Realismus der 1970er-Jahre, der Pop- und Minimal Art ebenso wie der Konzeptkunst von Künstler*innen wie Marina Abramović, Joseph Beuys, Francis Bacon, Lee Bontecou, Rebecca Horn, Valie Export, Wolf- gang Mattheuer, Louise Nevelson, Bridget Riley, Pippilotti Rist oder Andy Warhol. Ergänzt wird die Präsentation schlaglichtartig um Werke von Künstlerinnen wie Kiki Kogelnik oder Ewa Partum, die bisher nicht in der Sammlung der Nationalgalerie vertreten sind. Zur Ausstellung erscheint ein Katalog. Kuratiert von Joachim Jäger, stellv. Direktor Neue Nationalgalerie, Maike Steinkamp, wissenschaftliche Mitarbeiterin Neue Nationalgalerie, und Marta Smolińska, Professorin für Kunstgeschichte an der Magdalena Abakanowicz Universität der Künste Poznań.
Neue Nationalgalerie, Berlin

Kulturforum Berlin-Tiergarten / Potsdamer Straße 50
10785 Berlin

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posted 17. Nov 2023

Mischa Kuball - LIGHT_POESIS

21. Oct 202318. Feb 2024
Mischa Kuball LIGHT_POESIS 21. Oktober 2023 bis 18. Februar 2024 Der Konzeptkünstler Mischa Kuball (\*1959 in Düsseldorf) durchbricht die Grenzen scheinbar gewohnter Umgebungen. Oft nutzt er das Medium Licht, um den Fokus auf zentrale Sinnfragen zu richten, soziale Handlungsweisen zu hinterfragen und politische wie naturwissenschaftliche Diskurse anzuregen. Für die Ausstellung light_poesis im Skulpturenpark Waldfrieden hat sich Kuball der transformativen Kraft tageszeitabhängigen Geschehens gewidmet. Mit eigens für den Ort konzipierten Licht- und Spiegelinstallationen verbindet der Künstler innen und außen, Tag und Nacht sowie Mensch, Natur und künstliche Umwelt.

In zwei Ausstellungshallen setzt Kuball die pulsierende Lichtstimmung seiner Interventionen in Dialog mit den natürlichen Tageslichtübergängen im Außen. Ein Wechselspiel, das zum Denken anregt: So lässt sich die von Lichtreizen abhängige Wachstumsbewegung von Pflanzen auch auf das Erkenntnisstreben der Menschen übertragen. Sie wirken wie die Natur als Sensoren und Akteure in Kuballs stimmungsvollen Inszenierungen. Diesen Gedanken greift der Künstler auch in der anlässlich der Ausstellung dauerhaft installierten Außenskulptur auf: „rotating mirror_horizontal“ verändert durch ihre Bewegung nicht nur visuelle Perspektiven – sie thematisiert auch den Prozess bewussten Erfassens und Erkennens. „Mit LIGHT_POESIS im Skulpturenpark Waldfrieden versuche ich den Menschen besonders auch aus der Region Wuppertal, den Park in einer Zeit zu zeigen, in der sich die Natur regeneriert vieles von dem, was mit der Natur in Verbindung steht eher verborgen bleibt: die innere Regeneration in den Stämmen und Wurzeln, der Erde, die dann wieder im Frühjahr mit sprießenden Blüten und Blättern den Park in ein besonderes grünes Kleid tauchen. Denn grade in der Zeit zwischen Oktober und Februar, unserer Projektzeit für LIGHT_POESIS, wirkt das Licht und auch die Spiegel die aus den Pavillons heraus den Zustand der Natur thematisieren. Letztlich sieht man das, was man kennt, an einem gewohnten Ort, aber in einer ungewohnten Weise und dadurch, dass das Licht und die Spiegel dynamisch sind, rotierend oder aufhellend - dann fast verstummend, entsteht eine besondere Magie, die sich mit diesem Ort poetisch verbindet. Schon in den Nachmittagsstunden fällt die Dämmerung zwischen die Stämme, auf den kühlen Boden, und das wird sozusagen von dem Licht reflektiert und erlaubt eine eindrückliche und einzigartige Begegnung mit dem Skulpturenpark und den auf dem gesamten Gelände zu entdeckenden Skulpturen internationaler künstlerischer Positionen.“ Mischa Kuball Mischa Kuball arbeitet seit 1977 im öffentlichen und institutionellen Raum. Mithilfe des Mediums Licht erforscht er architektonische Räume und deren soziale und politische Diskurse. Er reflektiert unterschiedliche Facetten, von kulturellen Sozialstrukturen bis hin zu architektonischen Eingriffen, die den Wahrzeichencharakter und den architekturgeschichtlichen Kontext betonen oder neu kodieren. Politisch motivierte und partizipative Projekte richten den Fokus auf die Verschränkung von öffentlichem und privatem Raum und stellen eine Plattform für die Kommunikation zwischen den Teilnehmer\*innen, dem Künstler, dem Werk und dem urbanen Raum her.
 Seit 2007 ist Mischa Kuball Professor für Public Art an der Kunsthochschule für Medien, Köln. Zuvor war er Professor für Medienkunst an der Hochschule für Gestaltung/ZKM, Karlsruhe. Seit 2015 ist er Mitglied der Nordrhein-Westfälischen Akademie der Wissenschaften und Künste, Düsseldorf. 2016 wurde er mit dem Deutschen Lichtkunstpreis ausgezeichnet.


Mischa Kuball 
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posted 16. Nov 2023

Mack im ZKM

16. Sep 202307. Apr 2024
Mack im ZKM 16.09.2023 – 07.04.2024 Das ZKM | Zentrum für Kunst und Medien Karlsruhe zeigt ab dem 16.09.2023 mit der Ausstellung »Mack im ZKM« eine umfassende Überblicksausstellung zum Werk von Heinz Mack. Auf 2.900 Quadratmetern werden in den ZKM-Lichthöfen um die 130 Werke des Künstlers aus dem Zeitraum 1955 bis 2023 präsentiert. Einige Arbeiten, die bislang nur selten ausgestellt wurden und teilweise sogar verloren gegangen sind, werden nun im ZKM | Karlsruhe rekonstruiert oder neu inszeniert. Spiegelobjekte in der gleißenden Wüstensonne, flirrende Farbprismen in der Arktis, lichtreflektierende Stelen, magisch vibrierende Rotoren, gold und silbern strahlende Kuben, virtuelle Volumen, erzeugt durch elektrische Impulse: Heinz Mack, Künstler des Lichts, bringt die Lichthöfe des ZKM ab September auf vielfältige Weise zum Leuchten. Neue Materialien, neue künstlerische Ausdrucksformen Bereits in den 1950er-Jahren suchte Heinz Mack nach einer Harmonie zwischen Mensch, Natur und Technik. 1957 gründete er mit dem Künstler Otto Piene in Düsseldorf die Gruppe ZERO. Gemeinsam mit anderen internationalen Künstlern wollten sie die Kunst nach dem zweiten Weltkrieg revolutionieren. ZERO stand für einen Neuanfang – eine Stunde Null. Licht, Bewegung, Struktur und Farbe sind für Mack dabei die zentralen Themen. Heinz Mack verwendete schon früh natürliche Elemente wie Licht, Feuer, Luft, Wasser oder Sand als vollwertiges gestalterisches Ausdrucksmittel für seine Kunstwerke. Durch die Arbeit mit kinetischen Prinzipien und neuen industriellen Materialien wie Aluminium, Acrylglas oder Fresnel-Linsen sowie chemischen Substanzen wie Phosphor und Quecksilber revolutionierte er den Skulpturenbegriff. Seine offenen Werke beziehen nicht nur den Raum, sondern auch die Betrachter:innen direkt mit ein, denn sie interagieren mit dem Licht auf einzigartige Weise und erweitern so die Wahrnehmung. Licht in allen Facetten: »Mack im ZKM« Die Ausstellung präsentiert Arbeiten aus allen Schaffensphasen des Künstlers. Einige Werke, die bislang nur selten ausgestellt wurden und teilweise sogar verloren gegangen sind, werden nun im ZKM rekonstruiert oder neu inszeniert. Darunter ist zum Beispiel die »Licht-Choreographie«, eine in dieser Art zum ersten Mal präsentierte Komposition aus verschiedenen, teils motorisierten Stelen Macks, die ein multisensorisches, immersives Erlebnis kreiert, das Licht und Raum in Vibration versetzt und regelrecht zum Tanzen bringt. Auch beim »Sahara-Projekt«, das seit 1959 einen Fixpunkt in Macks Arbeit bildet und ihn zu einem Pionier der Land-Art in Europa macht, scheinen sich Raum und Zeit aufzulösen. Immer wieder bereiste der Künstler die Wüste, die ideale Voraussetzungen bot, um mit Licht und Raum in reinster Form zu arbeiten. Auf einer großen, den Lichthof 9 fast ausfüllenden Sandfläche werden die Lichtphänomene, die aus dem Zusammenspiel von Macks Lichtobjekten und der gleißenden Wüstensonne entstehen, auch im musealen Kontext nachempfindbar. Beim »Sahara-Projekt« handelt es sich außerdem um eines der ersten medial gedachten Werke in der europäischen Kunst, da Macks Interventionen nur für die Zeit der Aufnahmen andauerten und danach fotografisch sowie im Film »Tele-Mack« der Öffentlichkeit zugänglich gemacht wurden. Mack im 21. Jahrhundert »Mack im ZKM« wirft einen Blick auf einen Künstler, der seit jeher die vielfältigen Facetten des Lichts erforscht, fast wie ein Wissenschaftler, der einen Gegenstand in Versuchsreihen untersucht. Sein kontinuierliches Streben nach Immaterialität eröffnet den Raum für eine erweiterte Kunsterfahrung. Aus der heutigen Perspektive nimmt sein Werk die Fragestellungen vorweg, mit denen wir im 21. Jahrhundert konfrontiert sind. Macks Beschäftigung mit Luft, Wasser, Licht und Sand reflektiert auch aktuelle Themen rund um die heute bedrohten natürlichen Ressourcen. So nehmen seine großen Reflektorwände und raumgreifenden Lamellen-Plantagen, die er vor 65 Jahren konzipierte, formal die gegenwärtigen Photovoltaik-Anlagen voraus. Macks Haltung gegenüber Natur und Technik wirft Fragen auf und bietet Lösungsansätze, die im Lichte der Herausforderungen der menschengemachten Klimakatastrophe in der Gegenwart an Relevanz gewinnen. Zur Ausstellung ist ein begleitender Katalog in Planung (Erscheinungstermin 2024), unter anderem mit Beiträgen von Alistair Hudson, Wolfgang Ulrich, Sophia Sotke und Dr. Matthias Meier, Daria Mille und Lilijana Funk, Hartmut Böhme, Katharina Kern sowie Clara Runge. Mack in der EnBW Vom 30.11.2023 bis 21.04.2024 zeigt die EnBW im Foyer der Konzernzentrale in Karlsruhe belgleitend zur Schau im ZKM die Ausstellung »Jardin Artificiel« von Heinz Mack, die Collagen, Fotografien und Objekte aus dem »Sahara-Projekt« umfasst. Über Heinz Mack Heinz Mack (\*1931, Lollar, Hessen; lebt und arbeitet in Mönchengladbach und auf Ibiza) besuchte von 1950 bis 1953 die Staatliche Kunstakademie Düsseldorf. 1956 erlangte er das Staatsexamen in Philosophie an der Universität Köln. 1957 gründete er gemeinsam mit Otto Piene die Gruppe ZERO, was den Beginn einer neuen Periode – den Nullpunkt des Neuanfangs einer Kunsterfahrung – und den Bruch mit den Konventionen der stark vom Informel und Tachismus beeinflussten Nachkriegskunst markierte. Neben der Teilnahme an der documenta II (1959) und der documenta III (1964) vertrat er die Bundesrepublik Deutschland 1970 auf der XXXV. Biennale in Venedig. Im selben Jahr erhielt er eine Professur für einen Lehrauftrag in Osaka (Japan) und wurde ordentliches Mitglied der Akademie der Künste, Berlin, der er bis 1992 angehörte. Mack wurde mit wichtigen Preisen ausgezeichnet u. a. mit dem Kunstpreis der Stadt Krefeld (1958), dem Premio Marzotto (1963) und dem Preis der Kulturstiftung Dortmund (2012). Im Jahr 2011 ehrte die Bundesrepublik Deutschland den Künstler mit dem »Großen Verdienstkreuz mit Stern«. 2017 wurde ihm die Moses Mendelssohn Medaille verliehen. Seine Werke waren in annähernd 360 Einzel- und vielen Gruppenausstellungen zu sehen und sind in 170 öffentlichen Sammlungen weltweit vertreten.


Heinz Mack 
ZKM | Karlsruhe

Lorenzstraße 19
76135 Karlsruhe

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posted 15. Nov 2023

LOUISE BOURGEOIS - Unbeirrbarer Widerstand

22. Sep 202328. Jan 2024
LOUISE BOURGEOIS Unbeirrbarer Widerstand Zu sehen vom 22. September 2023 bis 28. Jänner 2024 im Unteren Belvedere Das malerische Werk von Louise Bourgeois als Entdeckung und einer der Höhepunkte von 300 Jahre Belvedere: Erstmals in Europa zeigt das Belvedere in einer großen Solopräsentation die kaum bekannten Gemälde einer der bedeutendsten Künstler\*innenpersönlichkeiten des 20. und 21. Jahrhunderts im Kontext ihres Gesamtwerks. Generaldirektorin Stella Rollig: Nach fast 20 Jahren ist es längst überfällig, Louise Bourgeois mit einer großen Einzelausstellung in Wien zu würdigen. Mit rund sechzig Gemälden stellen wir eine gänzlich neue Facette von Louise Bourgeois’ Werk vor und zeigen diese als Ursprung und Wurzel ihrer bildhauerischen und grafischen Praxis. Mit ikonischen Werken wie den monumentalen Spinnen und den raumgreifenden Zellen erlangte Bourgeois ab den 1990er-Jahren weit über das Kunstpublikum hinaus internationales Renommee. Kaum bekannt ist jedoch das malerische Frühwerk, in dem die Ausnahmekünstlerin den formalen und inhaltlichen Grundstein für ihr späteres Schaffen gelegt hat. Neben malerischen Hauptwerken wie der Serie Femme Maison oder The Runaway Girl sind großteils selten ausgestellte Arbeiten zu sehen. Ohne Zweifel reagierte Bourgeois in ihrem Werk auf die zwischen Mann und Frau herrschenden Machtverhältnisse und reflektierte die gesellschaftliche Rolle der Frau in den damals immer noch dominierenden patriarchalen Strukturen, so Kuratorin Sabine Fellner. Begleitet von Zitaten der Künstlerin setzt die Schau die Malerei mit skulpturalen Hauptwerken wie Arch of Hysteria, Fillette und Janus Fleuri, ihren Zellen und zahlreichen Grafikzyklen in einen intensiven Dialog. Der Bedeutung der Psychoanalyse in Bourgeois’ Leben und Werk wird in der Stadt Sigmund Freuds ein Schwerpunkt gewidmet, in dem von ihrer eigenen Analyse motivierte Schriften persönliche Einblicke in ihre Arbeit erlauben. Komplettiert wird die Ausstellung mit einer monumentalen Bronzespinne, die prominent platziert im barocken Gartenensemble des Belvedere thront. Über sieben Jahrzehnte spannt sich das medial vielseitige Werk von Louise Bourgeois. Bereits in ihren frühen Ölbildern aus den Jahren von 1938 bis 1949 entwickelte die franko-amerikanische Künstlerin ihr unverwechselbares künstlerisches Vokabular und fand zu den Themen, die sich durch ihr gesamtes Schaffen ziehen. Kuratorin Johanna Hofer: In den Gemälden beginnt Louise Bourgeois Kunst und Leben untrennbar miteinander zu verflechten. Sie entdeckt die Kunst als ihren Weg, sich den eigenen Ängsten, der Wut, dem Zorn, der Traurigkeit, den Selbstzweifeln zu stellen. Emotionale Zustände und innere Konflikte, existenzielle Themen wie Liebe, Verlustangst, Geburt, Sexualität und Tod bestimmen ihre Kunst, die intuitiv verständlich ist und dennoch in ihrer Komplexität oft rätselhaft bleibt. Unbeeinflusst von künstlerischen Strömungen der Zeit wie dem Surrealismus in Paris oder dem abstrakten Expressionismus in New York bleibt Bourgeois’ Werk eigenständig, unangepasst und weitgehend figurativ. In ihrer Kunst vereint Bourgeois Gegensätzliches wie männlich und weiblich, bewusst und unbewusst, Gegenständlichkeit und Abstraktion.


Johanna Hofer 
Belvedere, Wien

Prinz Eugen-Straße 27
A-1030 Vienna

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posted 14. Nov 2023


22. Sep 202314. Jan 2024
ZEIT. VON DÜRER BIS BONVICINI 22. September 2023 - 14. Januar 2024 Vom 22. September 2023 bis 14. Januar 2024 findet im Kunsthaus Zürich eine grosse Ausstellung statt, die sich explorativ der Ideengeschichte von Zeit oder dem subjektiven Zeitgefühl widmet. Die Spannweite der künstlerischen Positionen reicht von Künstlern der Renaissance bis zu Künstlerinnen der Gegenwart. In deren künstlerisch-ästhetische Anliegen fliessen biologische, gesellschaftliche und ökonomische Befunde ein. Die Zeit zählt zu den grossen Rätseln der Zivilisationsgeschichte und ihre Definitionen sind zahlreich. Sie finden sich nicht nur in der Philosophie, in der Biologie und Ökonomie oder der Politik, sondern auch in der Kunst. Der Corona-«Stillstand», als Raum und Zeit schlagartig in ihren Extremen erlebt wurden, macht die Fragestellungen rund um Zeit hoch relevant. IST ES FÜNF VOR ZWÖLF? Der von Kunsthaus-Kuratorin Cathérine Hug über drei Jahre im Dialog mit internationalen Expertinnen und Experten – David Rooney (London), Mónica Bello (CERN, Meyrin), Nathalie Marielloni und Régis Huguenin-Dumittan (MIH, La Chaux-de-Fonds) – konzipierte sinnliche Streifzug durch die Geschichte der Zeit umfasst Gemälde, Filme, Installationen, Performances und historische Uhren. Die Objekte zeugen von der Flüchtigkeit des Lebens, von Meditationsmöglichkeiten in der Malerei, vom Wechsel der Jahreszeiten oder von einem Finanzmarkt, der inzwischen auf die Billionstelsekunde getaktet ist. Auch wenn die Uhr als Zeitmessinstrument am Ausgangspunkt steht: Perspektiven wie die physikalische, biologische, paläontologische, jene persönlicher Empfindungen und andere, werden in der auf über 1200 m2 präsentierten Ausstellung in sechs Kapiteln untersucht. Partizipative Performances und Installationen laden dazu ein, sich gemeinsam über unterschiedliche Zukunftsmodelle auszutauschen: Eine interessante Option, die das Kunsthaus vor dem Hintergrund bietet, dass im Zeitalter des Anthropozäns vermehrt darüber spekuliert wird, wie viel Zeit nicht nur dem Individuum, sondern der gesamten Menschheit bleibt, um das Überleben auf und mit dem Planeten Erde zu sichern. LICHTGESCHWINDIGKEIT UND ZEITKONFETTI Es gibt über hundert Begriffe, die das Wort «Zeit» enthalten; manche wie «Zeitenwende», «Auszeit» oder «Freizeit» erleben heute ein überraschendes Comeback, andere wie «Zeitung», «Zeittakt» oder «Zeitlupe» drohen allmählich zu verschwinden. Hingegen steht neu auf der sprachlichen Agenda «zeitkrank». «Zeitdruck» wiederum kann sich mühelos über Jahrhunderte hinweg behaupten. Eine Antwort auf die Frage, was Zeit ist, lässt die Ausstellung offen. Durch vielfältige Anstösse ermutigt sie das Publikum, die verschiedenen Facetten des Zeitbegriffs miteinander in Beziehung zu setzen: Ist die Zeit nun physikalischer Natur? Beschreibt sie als absolute Grösse die Lichtgeschwindigkeit? Oder handelt es sich bei ihr um eine subjektiv-diffuse Empfindung, die als «Eigenzeit» versus den «Zeitkonfettis» in einem immer stärker fragmentierten Tagesverlauf wahrgenommen wird? Das Kunsthaus zeigt, dass die künstlerische Beschäftigung mit dem Begriff «Zeit» unendlich vielfältig ist. MITWIRKENDE INSTITUTIONEN UND KUNSTSCHAFFENDE Die Ausstellung entsteht in Zusammenarbeit mit dem Musée international d’horlogerie (MIH), La Chaux-de-Fonds. Über hundert Künstlerinnen und Künstler sind mit rund 230 Werken beteiligt, darunter Sinzo Aanza, Cuno Amiet, Maja Bajevic, Black Quantum Futurism, Abraham-Louis Breguet, Marie José Burki, Giorgio de Chirico, Jean Dubuffet, Natalja Gontscharowa, John Harrison, Alicja Kwade, Jürg Lehni, MANON, Maya Minder, Jonathan Monk, Eadweard Muybridge, Jos Näpflin, Natasza Niedziółka, Claes Oldenburg, Roman Opalka, Katie Paterson, Cyril Schäublin, Fatma Shanan, Elisa Storelli, Una Szeemann, Taiyo Onorato & Nico Krebs, Ben Vautier und Tim Zulauf/KMU Produktionen. Unterstützt von Swiss Re – Partner für zeitgenössische Kunst und Credit Suisse – Partnerin Kunsthaus Zürich. PUBLIKATION Zur Ausstellung erscheint ein Katalog in deutscher Sprache (mit englischen Übersetzungen). Beiträge von Ann Demeester, Cathérine Hug, Monika Leonhardt, Mónica Bello, Sébastian Vivas, Gespräche zwischen Rüdiger Safranski und Stefan Zweifel, Anna Elsner und Helga Nowotny sowie Cathérine Hug und Josef Teichmann. Kurztexte zu Exponaten von Estelle Fallet, Cathérine Hug, Régis Huguenin-Dumittan und Nathalie Marielloni. Snoeck Verlag Köln, 320 Seiten, ca. 250 Abbildungen. Erhältlich für CHF 49.– im Kunsthaus-Shop und im Buchhandel.


Catherine Hug 
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posted 13. Nov 2023


27. Oct 202316. Dec 2023
27 October—​16 December 2023 St-Georges Sterling Ruby DROWSE MURMURS DROWSE MURMURS is Sterling Ruby’s most comprehensive exhibition with the gallery to date. Featuring four distinct bodies of new work—drawings, sculptures, paintings and ceramics—it provides a broad overview of the latest developments in his oeuvre. The presentation not only highlights the sweeping nature of his practice but also its material and thematic complexity. The contrasts that have shaped Ruby’s life—between his European roots and American upbringing, between rural Pennsylvania and urban Los Angeles, and between his father’s work for the military and his parents’ involvement with the hippie subculture—all serve as a catalyst for works in which the personal and political coincide. The title is borrowed from Allen Ginsberg’s poem Drowse Murmurs (1965) that echoes some of the most prescient themes of the exhibition, most notably the dialectic between war and peace, destruction and beauty. Central to the exhibition are Sterling Ruby’s monochrome drawings, which he is showing for the first time. Executed in ink or graphite, they constitute an entirely new body of work. Raw and volatile energy fills each sheet in the same way Ginsberg’s excoriating words hit the page. The Beat Poet coined the phrase ‘first thought, best thought’ to describe a type of truth-telling born from naked experience. Ruby’s stream-of-consciousness images, which also eschew artistic self-censorship, evoke explosions, cyclones, and nets. Yet fragile glimpses of nature can also be detected amidst their frantic lines, such as a spider’s web or flower. Flowers also appear in the artist’s cast aluminium sculptures. The FP in the title stands for ‘Flower Power’, a slogan used in the 1960s and 70s to denote passive resistance to the Vietnam War. Ginsberg invented the phrase in 1965, the year in which he wrote Drowse Murmurs, and it served to transform war protests into peaceful affirmative spectacles. An iconic photograph of a man placing a carnation inside the barrel of an M14 rifle, taken by Bernie Boston in 1971, captures the ethos. This image also featured on a poster in the Ruby household. Ruby’s sculptures are permeated with the same uneasy tension. Their slender forms—which reference his earlier wooden reliefs—resemble gun shafts and bayonets. They are typical examples of the artist’s regenerative practice and cast from assemblages of wood and other materials. Ruby salvages scrap from his creative projects and endlessly repurposes it, meaning that old works give rise to new. The flowers and foliage, all gathered from around the artist’s home and studio, were cast from life. Through these sculptures, Ruby also introduces a modern material into his work: aluminium. Synonymous with the space age, it is now a ubiquitous part of everyday life, thanks to its lightness and strength. But it also has extensive military applications. The metal played a significant role in the Vietnam War, for example, when it was used to manufacture people carriers and bombs. With their skeletal, almost spectral appearance, Ruby’s sculptures stand on the threshold of past and present. By establishing an analogy between militarism and activism, the works also raise questions about the conflicts that define our own epoch. Other aluminium sculptures are shaped like windmills, a structure symbolic of progress and sustenance. Historic examples still punctuate European landscapes as reminders of a bygone age. Different versions arose in the US: the distinctive water-pump windmills that allowed farmers to conquer America’s ‘breadbasket’, the Great Plains. Both are turbines, although the latter have all but disappeared from the American landscape. On another level, Ruby’s sculptures also speak to rich visual and literary traditions. From the windmills of Hobbema and Vermeer to those of Malevich and Mondrian, or from Don Quixote to Alfred Daudet’s Letters from My Windmill, this is a machine whose power reverberates down the ages. Ruby’s latest TURBINE paintings also include windmill-like forms. They relate to his earlier WIDW series, which included a motif that resembled a window. The shape has now acquired a rotational axis and been set in motion. The transformation is open-ended: are these blasted out windows, propellers or wind turbines? Devoid of references to time or place, the cruciform structures carve the pictorial plane into quadrants. Bold colours, some menacing and others more hopeful, create an indeterminate and volatile visual field. Clouds, wind, fire, smoke, smog, storms and dust all spring to mind. If these are indeed wind turbines, then they are ambiguous emblems. Whilst promising clean and sustainable energy, they also bear witness to the ecological ramifications of turbine-driven industrialisation and war. Other paintings in the series contain coruscating bands of colour, which Ruby achieves by pounding pure pigment into the canvas. It creates the impression of speed and velocity, or explosions and bombs. Here, the collaged motifs are geometric shapes that suggest airplane fuselages, border fortifications such as dragon’s teeth, or nodding donkey oil pumps. In his recent ceramics, Ruby continues his exploration of the four-petalled flower motif, or quatrefoil. This archetypal image has multiple spiritual and heraldic connotations, including an association with the four cardinal winds. Ruby has also made a visceral series of ‘flowers’ with lobe-like ‘petals’, and articulated stems that resemble vertebrae. With their gnarled and pockmarked surfaces, and their similarity to arrowheads, they resemble archaeological finds from a post-apocalyptic age. Lucio Fontana’s ceramic crucifixes, in which form and matter dissolve through the pressings and mouldings of the artist’s hands, were a reference point when making these works. Ruby has worked the clay just as intensely, pounding it in the open air so that it gathers traces, both positive and negative, of the world outside the studio. Like excavations or aerial views of ravaged landscapes, they follow on from the shattered topographies of the artist’s Basin Theology series. DROWSE MURMURS features works that are not pictorial, figurative or didactic, but which still contain identifiable and thought-provoking elements that say something about the world right now. The formal and material contrasts, together with the slippages between past and present, build into a rich visual terrain that touches upon some of the most burning issues of the day. When Ginsberg published Drowse Murmurs in 1967, it was part of his Planet News collection: a penetrating and an unflinching reportage on his life and times. Ruby channels that same spirit, anno 2023. * Sterling Ruby was born in 1972, holds American and Dutch citizenship, and lives and works in Los Angeles. Collections include the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Museum of Contemporary Art Chicago; Museum of Contemporary Art, Los Angeles; Los Angeles County Museum of Art; San Francisco Museum of Modern Art; Tate, London; Centre Pompidou, Paris; and Moderna Museet, Stockholm. Ruby’s sculpture DOUBLE CANDLE (2018) is installed permanently at the Hirshhorn Museum and Sculpture Garden, Washington, DC. Exhibitions include DROPPA BLOCKA, Museum Dhondt- Dhaenens, Deurle, Belgium (2013); STOVES, Musée de la Chasse et de la Nature, Paris (2015); Belvedere, Vienna (2016); Ceramics, Des Moines Art Center, Iowa (2018, travelled to Museum of Arts and Design, New York); and Institute of Contemporary Art, Miami (2019–20, travelled to Institute of Contemporary Art, Boston). In 2014 he participated in the Gwangju Biennale, Taipei Triennale, and Whitney Biennial.


Sterling Ruby 
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posted 12. Nov 2023


13. Oct 202325. Feb 2024
13 October 2023 to 25 February 2024 BRICKS – PER KIRKEBY The brick sculptures are central to Per Kirkeby’s (1938-2018) extensive and varied oeuvre. A few years before his death, Kirkeby consented to the posthumous rebuilding of the brick sculptures thus making it possible for ARKEN to exhibit a selection of these impressive and thought-provoking sculptures. Per Kirkeby created the first of more than 150 brick sculptures in 1966, and in 1973 the first large sculpture was constructed in a public space. The exhibition at ARKEN thus marks the 50th anniversary of the construction of Kirkeby’s first monumental brick sculpture. The exhibition includes, among other things, the construction of unrealized brick sculptures that exist only as sketches and architectural drawings. The exhibition is exhibited in ARKEN’s Art Axis; the museum’s 150-metre-long exhibition space, where the brick sculptures will enter into a dialogue with ARKEN’s architecture – staged as a city with the sculptures being constructed before the museum audience and continually activated by the museum and its visitors during the exhibition period. In the adjacent gallery, the museum will be the first art institution to recreate a special brick scenography in bricks created by Per Kirkeby in 1992 for the performance Iphigenia auf Tauris by Johann Wolfgang von Goethe.


Per Kirkeby 
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posted 11. Nov 2023

Doppelganger! Jakob Lena Knebl and Ashley Hans Scheirl

19. Oct 202307. Jan 2024
opening: 18. Oct 2023
October 19 – January 07, 2024 Opening: October 18 Doppelganger! Jakob Lena Knebl and Ashley Hans Scheirl Curator Daria de Beauvais Jakob Lena Knebl and Ashley Hans Scheirl’s exhibition takes the form of diverse installations, islands of light that invite the public to explore “spaces of desire”, in their words. They create an immersive setting with carpets and mirrors through which the visitors become part of the show. The scenography draws on the codes of art, design, literature and socio-cultural phenomena while tending towards the humorous and the grotesque. The installations presented confuse values, they generate a series of tensions and affects that lend the most recognisable of their sources of inspiration an uncanny effect that is both unsettling and intriguing. Rough concrete, gloomy corners, inextricable interlacings and bracings at walls and ceilings and numerous columns lend a background to staging our works. The cellar evokes the subconsciousness of a building. A liminal place, a heterotopia that can be associated with sub- and countercultures. We turn the basement of the building into an uncanny scenery for the ghosts of the Palais and its visitors.” References from Mary Shelley and Ada Lovelace to Barbapapa, Hans Bellmer to Luigi Colani, Hector Guimard to contemporary cyber aesthetics are interwoven to create protean works and beings, whose transmorphism pushes back the boundaries of good taste and representations of identity. The artists enter into a dialogue with each other based on the prefix “trans”: transmedium, transgenre, transmateriality, transcontext – a playful interchange between contemporary creation and the history of art and design, deconstructing the idea of identity as a whole: from mannerism to surrealism, from dark romanticism to biomorphism, and from modernism to postmodernism, opening onto a future of cybernetic existence.

artists & participants

Jakob Lena Knebl,  Ashley Hans Scheirl 
Palais de Tokyo, Paris

13, avenue du Président Wilson
F-75116 Paris

Franceshow map
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posted 10. Nov 2023

Nan Goldin - This Will Not End Well

07. Oct 202328. Jan 2024
7 Oct 2023 until 28 Jan 2024 Nan Goldin This Will Not End Well Nan Goldin is one of the most high-profile artists of our time. Her view of the joys and sorrows of a human life through the lens of her camera is legendary. Her photos of herself and her friends are snapshots of intimacy and coupling, the quotidian and wild parties. She makes social issues visible and negotiable, even far beyond the art world. In the largest gallery of the Stedelijk, Nan Goldin returns to the origins of her artistic practice with the exhibition This Will Not End Well. As a filmmaker, she presents slideshows consisting of thousands of photos in six unique buildings, supported by music, voice-overs, and archive material. The exhibition is comprised of: The Ballad of Sexual Dependency (1981–2022), Nan Goldin’s magnum opus; The Other Side (1992– 2021), a historical portrait produced as an homage to her trans friends whom she photographed between 1972–2010; Sisters, Saints and Sibyls (2004–2022), a testament to the trauma of families and suicide; Fire Leap (2010–2022), a foray into the world of children; Sirens (2019–2020), a trip into drug ecstasy; and Memory Lost (2019–2021), a claustrophobic journey through drug withdrawal. Nan Goldin's view on the joys and sorrows of a human life through the lens of her camera is legendary Goldin photographed the world of her bohemian friends with raw tenderness. Her photographs give us snapshots of intimacy and coupling, the quotidian and wild parties, and the struggle between autonomy and dependency. One of her well-known works is The Ballad of Sexual Dependency (1981–2022). It has grown into a work of over a thousand photographs, in which Nan Goldin documents her circle of friends in Provincetown, New York, Berlin and London from the 1970s and 80s up to the present day. Without passing judgement, she shows the seductive and destructive sides of sex and drugs, as well as the joys and sorrows of intimate relationships and friendships. Nan Goldin continues to influence new generations with her raw photographs. She not only radically changed photography in the art world, but also left her mark on fashion and advertising photography. Nan Goldin makes loaded social issues visible and accessible Subjects such as drug use, sex work, domestic violence, LGBTQ+ rights and the consequences of the AIDS epidemic, which were previously taboo in society, are discussed through her vulnerable and personal photos. In the series Sisters, Saints and Sibyls (2004), Goldin explores family traumas and suicide, and The Other Side (1993–2021) pays homage to gender diversity. In the series Memory Lost she approaches life from a penetrating addiction-perspective. In 2017 she also founded the action group P.A.I.N. (Prescription Addiction Intervention Now), which specifically targeted the Sackler family. The group holds this drug-producing billionaire family responsible for the addiction to strong painkillers of hundreds of thousands of people in the U.S., a situation that has reached epidemic proportions and caused countless overdoses. The Sacklers are important donors to a large number of leading international museums. Many of these institutions, due to pressure from P.A.I.N., cut ties with the family and removed all traces of the Sackler name from their premises. I found a way to make films out of still images. Making slide shows gives me the luxury of constantly reediting to reflect my changing view of the world. — Nan Goldin This Will Not End Well is Nan Goldin's first solo exhibition as a filmmaker Although Goldin's photography is best known, her artist practice began around 1980 presenting eclectic slideshows of hundreds of photographs to live audiences in clubs and underground movie theaters. She updated her slideshows every time, edited them again and again and used multiple projectors. These ever-changing slideshows formed the foundation of her artistic practice. Over the past forty years, she has produced a variety of slideshows — from portraits of her friends to stories of traumatic family events. She continuously adds new elements to her works, including moving images, musical compositions and archive material. At the Stedelijk she returns to her origins and presents slide slows in six rooms, consisting of thousands of photos, music, voice-overs and archive material. THE INTERNATIONAL TOUR The Stedelijk receives This Will Not End Well first from organizer Moderna Museet in Stockholm as part of the international tour of museums, including the Neue Nationalgalerie in Berlin (October 2024–March 2025); Pirelli HangarBicocca in Milan (October 2025 - February 2026); and Grand Palais, Paris (March - September 2026). ABOUT NAN GOLDIN Nan Goldin (born in Washington D.C. in 1953) is one of the most high-profile artists of our time. Her work’s exploration of the human experience is legendary and has profoundly influenced subsequent generations. Her first work, The Ballad of Sexual Dependency, documents life in Provincetown, New York, Berlin and London beginning in the 1970s and 80s and up to the present day. Goldin photographed the world of her inner circle of creative, bohemian friends with raw tenderness. Her photographs give us snapshots of intimacy and coupling, the quotidian and wild parties, and the struggle between autonomy and dependency.


Nan Goldin 
Stedelijk Museum, Amsterdam

Museumplein 10
NL-1071 DJ Amsterdam

Netherlandsshow map
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