daily recommended exhibitions

posted 16. Oct 2021

Jacqueline Humphries

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

1871 North High Street
OH 43201 Columbus

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posted 15. Oct 2021

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

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

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

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posted 14. Oct 2021


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


Aby Warburg 


Axel HeilRoberto Ohrt 
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posted 13. Oct 2021

7th Athens Biennale 'ECLIPSE'

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

Office: 23, Mavrommateon Street
104 34 Athens

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posted 12. Oct 2021

Tobias Hantmann. 3 Sets of Painting

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

Burggraben 6 (Hörtnaglpassage)
A-6020 Innsbruck

Austriashow map
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posted 11. Oct 2021

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

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


Daniel Buren 
Nara Roesler, Sao Paulo °

Avenida Europa 655
01449-001 Sao Paulo

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posted 10. Oct 2021

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

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

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

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posted 09. Oct 2021

MOMENTA 2021 "Sensing Nature"

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

Rebecca Horn

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


Rebecca Horn 
Kunstforum Wien

A-1010 Vienna

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posted 07. Oct 2021

Rayyane Tabet: Deep Blues

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


Rayyane Tabet 
Walker Art Center, Minneapolis

WAC | 725 Vineland Place
MN-55403 Minneapolis

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posted 06. Oct 2021


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

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

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posted 05. Oct 2021

Hito Steyerl: Factory of the Sun

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


Hito Steyerl 


Kathryn Wade 
San Jose Museum of Art

110 South Market Street
CA-95113 San Jose / CA

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posted 04. Oct 2021


03. Sep 202123. Oct 2021
opening: 03. Sep 2021
03.09.2021 - 23.10.2021 Opening DC-Open Galleries Sept 3-5 **ASTALI / PEIRCE ,Horizont’** Horizont – 2021 2 channel audio/video installation duration: 47:55 min Horizont unfolds through a series of juxtapositions of objects and interventions, exposed by the pulsing light of a scanner beam as it glides across the picture plane. Clips are sequenced to pan laterally as the light travels mechanically back and forth, illuminating an array of artefacts. Horizont is equally an anthropological and poetic pursuit. Its source material reflects artistic and archivist impulses, drawn from the everyday and engaging a range of themes which include ecology and destruction, history and digitization, violence, fertility, drugs and economics. At times, the specificity of things and their connotations – a lit cigarette on one screen and a drained coffee cup the another – slip into affective, evocative relationships. In combinations like a smiley face on the one side and a lonely, writhing maggot on the other, vitality meets vanitas*. The two screens face each other as if in conversation, playing semantic tug of war between sense and nonsense, humour and solemnity, and engaging both the cosmic seeker and the speculative analyst. Mantra-like, the work’s soundtrack instils a hypnotic pulse that drives a polyrhythmic grid into which viewers can drift and return, observe and associate. Its immersive experience makes the lapses more apparent, too, for example when Astali / Peirce video call themselves from a smartphone placed on the scanner and reveal themselves alongside their rigged machinery, or when the scanner scans itself in a single, cascading image. Audio and visual glitches merge with intentional sleights of hand and inflect disruptions in authorship with a sense of reflexivity, even intimacy. They tease the notion that the self might hinder a more intuitive kind of understanding and also raise questions of how willingly we attribute and construct meaning, even in the most fortuitous and fleeting of constructions. The scanner in Horizont serves as frame, stage and platform for these intrapsychic explorations. It offers the artists form and function: a site of bureaucratic, automated toil as much as ritual. For a culture addicted to the production of self through ever-changing modes of consumption, Horizont offers a sweeping inventory of the now. Post-mortem, it looks down and out, back and in, in order to cast collective sightlines forward. In their complex layering of histories and meanings, Astali / Peirce deliver both an index of the flawed machine in which we operate and a comment on our role in sustaining it. Isabel Parkes, 2021

artists & participants

Tolia Astali,  Astali / Peirce,  Dylan Peirce 
Petra Rinck Galerie, Düsseldorf

PETRA RINCK GALERIE | Birkenstrasse 45
40233 Dusseldorf

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posted 03. Oct 2021

Alexandra Bircken - A–Z

28. Jul 202116. Jan 2022
Alexandra Bircken A–Z July 28, 2021–January 16, 2022 Alexandra Birckens Kunst basiert auf den Prinzipien des Trennens und Verbindens unserer Welt des Innen und Außen. Ab Juli 2021 widmet das Museum Brandhorst der international bedeutenden deutschen Bildhauerin ihre bislang umfangreichste Werkschau. Wie stehen wir der uns unmittelbar umgebenden Umwelt gegenüber? Schützen wir uns oder setzen wir uns ihr widerstandslos aus? Sind wir verletzlich oder gerüstet und unangreifbar? Und wie konstituiert sich unser Körper in einer technoiden Zeit, in der er selbst ein archaisches Überbleibsel zu sein scheint? Diese hochaktuellen Fragen spielen eine zentrale Rolle im Werk der 1967 in Köln geborenen Alexandra Bircken.   Die in Berlin lebende Künstlerin ist seit 2018 Professorin für Bildhauerei an der Akademie der Bildenden Künste München und bekannt für ihre Skulpturen und Installationen, für die sie auf eine ungewöhnliche Bandbreite an Materialien zurückgreift: Von Alltagsgegenständen wie Verpackungen für Haarkolorationen, Schaukelpferden und zersägten Motorrädern über Textilien in Handarbeit und maschinell verarbeiteter Form bis zu organischen Stoffen, etwa Holz, Leder, Knochen oder sogar einer Plazenta – alles uns Umgebende kann zum skulpturalen Medium werden. „Meine Arbeit speist sich aus Beobachtungen menschlichen Lebens und unserer Umgebung. Es geht um unsere Verletzlichkeiten und unsere Mittel des Eigenschutzes. Und um die Leistung, welche die moderne Gesellschaft von uns erwartet und die wir uns selbst abverlangen. Häufig funktionieren wir wie Maschinen“, sagt Bircken. Und so ist es fast immer der menschliche Körper, an dem sich die Objekte ausrichten. Mit seinen komplexen Zuständen, Hüllen und verschiedenen Begehren dient er als zentraler Bezugspunkt in Birckens Werk, das man auch als Beitrag zu einer Medientheorie des Körpers verstehen kann. In thematisch gegliederten Räumen wird die Ausstellung das skulpturale Vokabular Birckens erstmals in vollem Umfang erschließen und Arbeiten aus allen Schaffensperioden in einen Dialog bringen, der den vielschichtigen Aussagen der Künstlerin zu Oberfläche, Körper, Bewegung, Hülle und Haut nachgeht.   Für das Museum Brandhorst realisiert die Künstlerin auch neue Arbeiten, unter anderem eine Installation, die sich spezifisch auf die Architektur des Ausstellungsraums bezieht. Bircken ersetzt dafür in einem aufwendigen Prozess die Lüftungsgitter am Boden durch eine große Anzahl präparierter Tierknochen. Für die Realisierung des Projekts kooperiert sie mit Veterinärwissenschaftlerinnen und -wissenschaftlern des Instituts für Tieranatomie der Ludwig-Maximilians-Universität München. Die Arbeit widmet sich der Idee von Architektur als Körper, der wie ein Gebäude durch ein Gerüst stabilisiert wird und gleichzeitig das Skelett schützend und bestimmend umhüllt. Knochen wiederum sind selbst in sich geschlossene Körper, die Träger von komplexen Informationen darstellen und viel mehr Wissen transportieren, als an ihrer glatten Oberfläche sichtbar ist. Ebenso weisen sie uns auf etwas Physisches, Selbstverständliches, Hermetisches hin: das Innere des Körpers, aber auch unsere eigene Vergänglichkeit.   Andere Exponate sind in der Ausstellung erstmals seit Langem wieder öffentlich zu sehen. Ein Highlight darunter: die 2013 im Pavillon an der Volksbühne Berlin eingerichtete Installation „Lunge“ – eine aufblasbare, rosafarbene, leuchtende Skulptur von mehr als fünf Metern Durchmesser. Sie bläht sich kontinuierlich auf, bis die Museumswände ihr physische Grenzen setzen, um dann wieder langsam in sich zusammenzusacken. Das skulpturale Objekt wird zum atmenden Organ des Museums.   Die Ausstellung ist in enger Zusammenarbeit mit Alexandra Bircken entstanden und wird von einem Katalog begleitet, der das Schaffen der Künstlerin erstmals umfassend wissenschaftlich beleuchtet. Im Anschluss reist die Schau an das Centre Régional d’Art Contemporain im französischen Sète.
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posted 02. Oct 2021

Donna Huanca - Espejo Quemada

26. Jun 202121. Nov 2021
Donna Huanca Espejo Quemada (MIRROR BURNING) – 26 Jun 2021 – 21 Nov 2021 Donna Huanca presents a series of new work commissioned by Ballroom Marfa in her exhibition ESPEJO QUEMADA. Huanca creates experiential installations that incorporate paintings, sculptures, video, scent and sound. The profound experiences and memories of Huanca’s first visit to Marfa in 2005 inspired the work in the exhibition. The artworks draw on visual, cultural, and mythological cues informed by feminism, decolonialism and the artist’s personal and familial histories, while simultaneously engaging with the biodiversity, geology, and dark skies of Far West Texas. The sky was particularly striking for Huanca–animated with cosmic and extraterrestrial forces while also revealing the natural rhythms of the sun and moon. ESPEJO QUEMADA, Huanca’s first exhibition since the pandemic, also uses mirrors as formal and metaphorical devices to respond to changing conditions. The title, which translates to “burnt mirror,” alludes to reflections of the current moment; portals to the past and future; and ignitions of combustion and change. Time, touch and embodied experiences are all reconsidered today, especially when viewing artworks, which are now mostly encountered digitally. Huanca further pushes the phenomenological effects in her installations. She works with an amalgam of color, texture, sound, and scent to enliven the senses and create alternative and elongated temporal spaces for contemplation. Shifts in perception are also experienced in Ballroom’s courtyard. The artist displays her first series of outdoor sculptures that use light and temperature sensitive pigment that respond to the climate in Marfa, changing over the course of the exhibition. ESPEJO QUEMADA is curated by Daisy Nam, Ballroom Marfa curator. Donna Huanca (b.1980) was born in Chicago, IL and currently lives and works in Berlin, Germany. Her painting, sculpture, performance, and new media work seeks to engage with the human body and its visceral connection to space and identity. Huanca’s practice pushes audiences to question their understanding of biology, ecology and history through a decolonial lens. Huanca has exhibited internationally. Solo exhibitions include: OBSIDIAN LADDER at Marciano Art Foundation (Los Angeles) in 2019; LENGUA LLORONA at Copenhagen Contemporary (Copenhagen, Denmark) in 2019; CELL ECHO at the Yuz museum (Shanghai, China), and PIEDRA QUEMADA at Belvedere Museum (Vienna, Austria) in 2018, and SCAR CYMBALS at Zabludowicz Collection (London, UK) in 2016 amongst others. Huanca was a 2016 Hirshhorn Artist Honoree at the Hirshhorn Museum and Sculpture Garden (Washington D.C.), and a 2012 Fulbright Scholar in Mexico City, Mexico. She received a 2009 DAAD Artist Grant, and a 2004 DeGolyer Grant from the Dallas Museum of Art (Dallas).


Donna Huanca 


Daisy Nam 

108 East San Antonio Street
TX-79843 Marfa

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posted 01. Oct 2021

4th Art Encounters Biennial, Timisoara

01. Oct 202107. Nov 2021
October 1–November 7, 2021 **4th Art Encounters Biennial, Timisoara**. The Art Encounters Biennial has announced details of participating artists, as well as information on the curatorial approach and format of its fourth edition. The Biennial, which takes place in Timișoara, Romania, from October 1—November 7, 2021, creates a dynamic platform in Romania for cultural exchange with the international art scene, while nurturing the talent of emerging artists from Romania and the wider region. Curated by Mihnea Mircan and Kasia Redzisz with the umbrella title of Our Other Us, the 2021 Biennial will reflect the global context of the pandemic and explores the ever-fluctuating relationships between self, other and the environment. Two curatorial projects, proposed by Mihnea Mircan and Kasia Redzisz—Landscape in a Convex Mirror and How to Be Together, respectively—will feature 20 new commissions. How to Be Together Kasia Redzisz’s exhibition will present works by artists such as: Flaviu Cacoveanu, Ndidi Emefiele, Irena Haiduk, Mihaela Hudrea, Suzanne Husky, Nona Inescu, Agata Ingarden, Gizela Mickiewicz, Małgorzata Mirga-Tas, Davinia-Ann Robinson, Selma Selman, Jura Shust, Dardan Zhegrova. Landscape in a Convex Mirror Mihnea Mircan’s exhibition will include, among others, works by Benjamin Bannan, Traian Cherecheș, Sara Culmann, Alice Gancevici & Remus Pușcariu, Adela Giurgiu, Femke Herregraven, Zsófia Keresztes, Szabolcs KissPál, Magdalena Łazarczyk, Jean-Luc Moulène, Vlad Nancă, Robertas Narkus, Miklós Onucsán, Manuel Pelmuș, Laure Prouvost, Ana Prvački, Saul Steinberg, Hito Steyerl, Remco Torenbosch, Achraf Touloub, Bernard Voïta. Alongside these two contemporary art exhibitions, the Biennial will delve into the history of the connection between artists and nature in Eastern and Central Europe through a show curated by Kasia Redzisz. Based on original research, the exhibition brings together practices related to the natural environment from across the region, highlighting the nuanced and radical contribution of non-Western artists to canonical streams of art of the 1960s and 70s. The show will feature names that include: Ștefan Bertalan, Eva Kmentová, Frans Krajcberg, Katalin Ladik, Wanda Mihuleac, OHO Group, Maria Pinińska-Bereś, Eugenia Pop, Zorka Ságlová, Sigma Group, Rudolf Sikora, Kazimiera Zimblytė. Secret Wing The three main exhibitions will be complemented by Secret Wing, an exhibition organised by Interart Triade Foundation and the National Art Museum Timișoara. A collaborative project between the international curator Maria Rus Bojan and the poet and philosopher Bogdan Ghiu, the exhibition examines artistic discourses of the 1980s and beyond from the perspective of poetry. Secret Wing takes its title from the eponymous volume of poetry by Mariana Marin (1956-2003), one of the most emblematic and uncompromising authors of the 1980s Generation in Romania, through which she proposed, for the understanding and moral resistance against totalitarianism, a political and existential identification with Anne Frank. Displaying works loaned from prominent international private collections, Secret Wing will feature the following artists: Lucas Arruda, Marcel Broodthaers, James Lee Byars, Ion Bitzan, Kasper Bosmans, Sophie Calle, Traian Cherecheș, René Daniëls, Marlene Dumas, Octav Grigorescu, Sigalit Landau, Gherasim Luca, Reinier Lucassen, Ioan Aurel Mureșan, Ioana Nemeș, Iulia Nistor, David Robilliard, Nora Turato, Ulay. Dedicated to connecting the past and the present, the local and the global, the Biennial will mirror the history and character of Timișoara while addressing issues of wider concern. The events that are part of the Biennial will engage several of the city’s landmark locations, including The National Museum of Art in Timișoara, the headquarters of the Art Encounters Foundation, the ISHO Offices and the ISHO Pavilion, Helios Gallery, The “Corneliu Mikloși” Public Transport Museum, The French Institute in Timișoara, and Faber Cultural Centre. The Biennial contributes to creating an active cultural climate that anticipates 2023, the year when Timișoara will hold the title of European Capital of Culture, and when the fifth edition of the Art Encounters Biennial will be organised. Art Encounters Biennial is organised by Art Encounters Foundation. The Biennial’s Main Sponsor is Raiffeisen Bank. Art Encounters Biennial is a cross between an experimental art festival and a contemporary art biennial. It focuses on extensive curatorial research that engages in meaningful dialogues with the historical and socio-cultural contexts of Timișoara. The Biennial’s mission is to become a creative meeting point for artists, communities, institutions, and ideas. Founded in 2015, Art Encounters Foundation is an independent art initiative aimed at enriching and supporting the development of the contemporary art scene in Romania and the wider region. To find out more information about the Foundation, please click here.
Art Encounters Biennial, Timisoara

Art Encounters Foundation Timișoara | 46C Take Ionescu Blvd.
300 124 Timisoara

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posted 30. Sep 2021

Laure Prouvost. Deep See Blue Surrounding You

17. Oct 202003. Oct 2021
Laure Prouvost. Deep See Blue Surrounding You (Vois ce bleu profond te fondre) 17.10.2020 - 03.10.2021 Laure Prouvost is a native of the Lille Metropolis and winner of the prestigious Turner Prize in 2013. The exhibition sees her revisiting the installation that she presented at the most recent Venice Biennale, Deep See Blue Surrounding You / Vois Ce Bleu Profond Te Fondre, putting it in dialogue with the Museum’s art brut collection, which she takes possession of with humorous intent. Using video, drawing, tapestry, ceramics, photography and, above all, language, she creates immersive installations. Manipulating words and images, she invents new expressions and narratives with dual meanings, in which reality and fiction intermingle to create stories imbued with humour. Organised around the film They Parlaient Idéale, which follows a poetic, road trip taken by a motley little community on their way to Venice (via Roubaix!), the exhibition presented at the LaM blurs the lines between fact and fiction, and between the artist’s own works and works from the Museum’s art brut collection. Curated by Marie-Amélie Senot, Associate Curator of Modern & Contemporary art, LaM
LAM Lille

LAM, 1 allée du Musée
F-59650 Villeneuve-d'Ascq

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posted 29. Sep 2021

Nam June Paik

24. Apr 202103. Oct 2021
Nam June Paik April 24–October 3, 2021 SAN FRANCISCO, CA (October 30, 2020)—Nam June Paik has continued to electrify the art world ever since his 1963 debut of television experiments in Exposition of Music – Electronic Television, his first solo exhibition. Paik challenged visitors to participate by activating modified TV sets and playing radically transformed instruments—blurring the distinction between performer and audience. Playful and interactive, Paik’s immersive environment expanded the boundaries of art, music and technology, and laid the groundwork for his career as the founder of video art. The San Francisco Museum of Modern Art (SFMOMA) will present the exclusive U.S. exhibition of Nam June Paik, a major retrospective of Paik’s radical and experimental art, on view from April 24 through October 3, 2021. One of the first truly global artists, Paik (1932–2006) foresaw the importance of mass media and new technologies, coining the phrase 'electronic superhighway' in 1974 to predict the future of communication in an internet age. The exhibition will celebrate his multidisciplinary and collaborative practice that encompassed art, music, performance and technology, all in dialogue with philosophies and traditions from both Eastern and Western cultures. Bringing together over 200 works across all media spanning a five-decade career, from early compositions and performances to large-scale video installations and global satellite projects, Nam June Paik offers an in-depth understanding of the artist’s trailblazing practice. Paik’s innovative, irreverent and entertaining works were informed by his musical background and his vision of an interconnected future. Organized by SFMOMA and Tate Modern, London, with additional presentations at the Stedelijk Museum Amsterdam and the National Gallery Singapore, the retrospective will be the first major Paik show in the U.S. in over 20 years and the first ever large-scale survey of his work on the West Coast. “Nam June Paik is famous for being the historic father of video art, but his groundbreaking and contemporary influence is even more based on his crossover between all media,” said Rudolf Frieling, curator of media arts at SFMOMA. “Paik’s radical visual and musical aesthetic has a natural home here on the West Coast as a place for global connectivity.” ABOUT NAM JUNE PAIK Born in Seoul during the Japanese occupation of Korea, Nam June Paik lived and worked in Japan, Germany and the U.S., reflecting a global connectedness that transcended borders and cultural differences. He studied music theory and trained as a musician before experimenting with performance and technology in the 1960s as a means of expanding his artistic production. He developed a multidisciplinary practice across media, and has become synonymous with the electronic image through a prodigious output of manipulated TV sets, live performances, global television broadcasts, single-channel videos and video installations. Paik collaborated with a community of avant-garde artists and musicians, and played a pivotal role in Fluxus, an international network of artists, composers and poets who engaged in experimental art performances. His groundbreaking work has influenced art, media, music and popular culture for decades, including musicians such as David Bowie, Laurie Anderson and Devo's Mark Mothersbaugh, among many others. CATALOGUE The exhibition is accompanied by an illustrated catalogue from Tate Publishing. Edited by Sook-Kyung Lee and Rudolf Frieling, it features essays by the editors and contributions from Leontine Coelewij, Grace Deveney, Rachel Jans, Susanne Neuburger, Andrea Nitsche-Krupp, Valentina Ravaglia and David Toop, as well as excerpts of Paik’s own writings. VENUES + DATES Tate Modern: October 17, 2019–February 9, 2020 Stedelijk Museum Amsterdam: March 14–October 4, 2020 SFMOMA: April 24–October 3, 2021 National Gallery Singapore: Opening November 2021 ORGANIZATION + SUPPORT Nam June Paik is curated by Rudolf Frieling, Curator of Media Arts, San Francisco Museum of Modern Art, and Sook-Kyung Lee, Senior Research Curator, Tate, with Andrea Nitsche-Krupp, Assistant Curator, SFMOMA. The exhibition is organized by the San Francisco Museum of Modern Art and Tate Modern, London, in collaboration with Stedelijk Museum Amsterdam and National Gallery Singapore


Nam June Paik 
SFMOMA San Francisco Museum of Modern Art

SFMOMA | 151 Third Street
CA-94103-3159 San Francisco

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posted 28. Sep 2021

Xianwei Zhu. In a Landscape

25. Sep 202110. Oct 2021
25.09.2021 - 10.10.2021 **Xianwei Zhu. In a Landscape** Xianwei Zhu's Paintings curator: Guiyan He exhibition planning : Junchun Wang, Yi Sun Flowing mountains - In the landscape of Xianwei Zhu ... how beautiful from a serene distance shines the wonderful picture of the landscape ... (Friedrich Hölderlin, 'The Walk') Xianwei Zhu has developed into one of the most interesting landscape painters in recent years. In gestural-spontaneous painting acts he combines the ideal of the soul landscape in the sense of the German Romanticism, especially Caspar David Friedrich, with the philosophical insights of Zen: Mountain and river become one, in order to join again in the inner image of the viewer to the overall view. The look back to the future is directed at the magic of nature and aims at a conscious experience of our environment, which is increasingly threatened. The fact that Xianwei Zhu finds his motifs on the Danube or in the Chinese mountains is a reference to the real landscape. However, he is concerned with the fictional localization of an idea of nature that leads us to the spiritual maturity to really respect it. The painter makes use of literary as well as philosophical reflections from Friedrich Hölderlin to Martin Heidegger, always with regard to the great tradition of East Asian painting and philosophy. The Chinese-German painter likes to travel with the ink box, has hiked the Danube valley drawing and has set his sights on the Hohentwiel as a motif - or was it a river and a mountain in China after all? Or memory? Xianwei Zhu's work is a process of self-location. Born in Qingdao, China, the painter, who completed his art studies both in his home country and in Stuttgart, evokes classical times to explore and secure his two binding cultural spaces. It is about home in a globalized reality. Xianwei Zhu initially evaded the feeling of the universally unhoused in a figurative way. From a partly witty, partly whimsical childlike motif that gave expression to wonder at a foreign world, the protagonists became increasingly adult, albeit less heroic than satirical, whether in the costume of a Napoleonesque emperor or a lonely wanderer over a sea of fog. The figures portrayed became smaller and smaller, the surroundings more grandiose. From there, it was not far to landscape painting, which now characterizes Xianweis Zhu's work. What could be interpreted as an escape from the world in view of the post-Romantic search for traces and preoccupation with Zen philosophy is in fact a complex attempt to penetrate the essential structure of unshakable East Asian thought and the much-vaunted Romantic soul at the same time. That he combines both is the strength of his painting, which is precisely not backward-looking, but takes a post-modern perspective with the internalized images of earlier eras. To the Asian viewer, traditional images of nature come to mind; to the Central European viewer, Caspar David Friedrich comes to mind - both are far apart in space and time. But this hardly matters if one internalizes that, despite all recognizability, it is about the appropriation of a spiritual space. An aphorism of Friedrich's has become famous for the Romantic self-image: "The painter should not merely paint what he sees before him, but also what he sees within himself. But if he sees nothing in himself, he should also refrain from painting what he sees before him." What appeared in his mind, however, was already impressive, not to say sublime. The arch-romanticist could hardly have missed Kant's and Schiller's discussion when he himself writes of the "feeling for the sublime in nature": "But to depict the most beautiful and the highest and the most moving would surely be the task of a true painter." He explicitly has neither "sky-high mountains" nor "endless abysses" in mind. Because of the introverted view demanded of the painter, it is precisely the invisible that appeals to him. "When a region is shrouded in mist, it appears larger, more sublime, and heightens the imagination and tenses the expectation: like a veiled girl. Eye and imagination are generally more attracted to the fragrant distance than to (what is) so near and clear before the eyes." Xianwei Zhu moves completely freely in the nowhere between the Swabian Jura and Hsiao-Hsing; it is precisely from the vantage point of Asia that he is familiar with the sense-filled emptiness. Georg Wilhelm Friedrich Hegel, a contemporary of Caspar David Friedrich, dealt with it and developed a kind of negative theology in the best sense, which the romanticist ultimately has, too, since he lets his God appear only in and through the inwardly felt nature. Hegel interpreted the philosophy of East Asia as a "religion of being-in-itself", even if he was wrong in doing so: the Zen Buddhist world view opens itself without limits, de-innerizes itself downright, makes the center omnipresent by suspending it. The Japanese scholar Dôgen writes: "We must behold the whole universe in a single speck of dust." Even more: the speck of dust becomes the universe, and the universe becomes the speck of dust. The difference with European pantheism, which co-determines Romantic landscape painting, is that God becomes superfluous. Via Hegel, Schopenhauer and Heidegger, the Buddhist values of emptiness, nobody and nothing have nested in our Western present, but these thinkers always remain committed to the concept of substance. Xianwei Zhu became at home in the reading of Western philosophers without abandoning Eastern thought. He knows, of course, that it remains a mental game. Painterly, he presents a romantically felt but insubstantial landscape. The fleeting brushstrokes only hint at it, reminiscent of the "Eight Views of Hsiao-Hsing" by the Zen painter Yü Chien: mountain and river, sky and earth merge, become one. According to the doctrine of Dôgen, everything flows - more sensually than the Western 'panta rhei' ("everything flows") propagated since antiquity: his blue mountains "wander", there is talk of the "flowing mountain". One has to imagine Xianwei Zhu's painting under such an image of Dôgen, which is not just metaphorical, but lived: "The mountains float above the clouds and wander through the sky. The peaks of the water are the mountains; the wandering of the mountains, up and down, is constantly happening on the water." With European eyes, we see a play of clouds in the mountains, with reflections in the water, causing a mountain to flow as well. With the eyes of the Zen expert, we see the mountain flowing not as the river, but as a river. Xianwei Zhu's paintings also evolve, often in the direction of reading, the gaze flowing towards culminating mountain ranges or from clusters of trees into the distance, etc. The point, however, is to free oneself from classifications, to let the mountain become a river and ultimately wisdom. Xianwei Zhu reminds us of the "wang ji", the forgetting, thanks to which one reaches where one wants to go in the first place: whoever strives for something makes himself unfree, tenses up and possibly ends up on a wrong track. Only when one no longer thinks about it, one will reach the goal. Martin Heidegger illuminated a Zen anecdote in this sense: A Zen novice sees mountains and water in front of him; in an inner vision, as an advanced student, he begins to doubt that mountains are mountains and lakes are lakes - only as an enlightened person does he see mountains and waters again, but they are stripped of their being-ness. Mountain and river are no longer questioned in their immanence, as the old Chinese story of the "Ox and its Herdsman" suggests: "Yesterday, today, it is as it is. In the sky the sun rises and the moon sets. Outside the window, the mountain looms far away and the deep river flows." The fact that the huge moon in the reflection fits into the comparatively small lake fits well there. Images we encounter again and again in Xianwei Zhu's work. His tendency to restrained color variation, sometimes to monochromaticity, inspires the emptiness of the representation, but also promotes the invisible depth of space and resounding silence. Xianwei Zhu has questioned the poetry of the Zen Buddhist Tang poet and hermit Han-Shan, as well as the German classic Friedrich Hölderlin, before the images of German Romanticism, and he has confronted them with East Asian ink painting. "People ask about the Hanshan path - / Hanshan? No path will lead you there! / Here the ice does not melt even late in summer, / In the fog the sun rises pale as the moon ...". Transformation is the magic word, an immersion in the landscape. Xianwei Zhu does not paint the landscapes as a backdrop of mountains, rivers, etc., but he seeks to merge with the landscape. This is even more evident in his action drawings with ink than in his paintings - especially when he applies them with a large brush on paper, inspired by traditional Asian or modern European music (such as John Cage's 1948 piece "In a Landscape"). In addition, he strove to see or reinvent both the Asian world of thought and the Romantic spirit through the lens of Martin Heidegger. The result is noticeable in the work of this commuter between worlds, which addresses the enduring strangeness of the contemporary sense of home just as much as it emphasizes the utopian nature of a concrete home. In his most recent work, Xianwei Zhu seeks a figurative expression for the absolute language of Friedrich Hölderlin, who hellenized his Swabian homeland in such a way that the reader finds himself in a dreamed-of faraway place. There is hardly any other German-language poet who could so somnambulistically put mountains, clouds, and waters into one and at the same time describe nearness and distance - as, for example, in the poem "Heimkunft," which begins as follows: In the Alps it is still light night and the cloud, Joyful poetry, it covers the yawning valley inside. There, there the joking mountain air roars and falls, Craggy down through the firs shines and fades a ray. ... Foreboding growth, for already, like lightning, the ancient Water springs, the ground under the falling steams, Echo sounds around, and the immense workshop Move by day and night, sending gifts, the arm. ... Hölderlin's pictures are of a captivating urgency and detachment at the same time. They are marked by a romantic melancholy, but at the same time they are illuminated by a cheerfulness that might also find its effect in Asia. In the poem "The Walk" - it is more of a wandering - the poet writes: Her woods beautiful on the side, Painted on the green slope, Where I guide me around, By sweet rest paid For every thorn in my heart, When my mind is dark, For art and senses have tasted Tasted from the beginning. You lovely pictures in the valley, Gardens and trees, for example, And then the narrow path, The brook hardly to see, How beautiful from a serene distance The glorious picture shines Of the landscape, which I like Visit' in weather mild. The deity kindly guided At first with blue, Then prepared with clouds, Formed arching and gray, With scorching lightnings and rolls Of thunder, with charm of image, With beauty that welled From the source of original image. Hölderlin conveys a modern feeling of nature, which turns the innermost of the ego outward and shows the brokenness of his/her/our time. Xianwei Zhu, however, tries to visualize Hölderlin's poetry with his own cosmos, fed by the Asian pictorial tradition. The sometimes tiny, almost vanishing figures resemble messengers from the past, but also testify on the one hand to the existential nothingness in the whole of threatened nature, and on the other hand to the nothingness that has freed itself from personal striving. The romantic-pantheistic world and the emptiness of Zen transfigure themselves into the unity of a "painted philosophy", as Peter O. Chotjewitz wrote about Xianwei Zhu's work. Time- and space-less, Xianwei Zhu sets out in search of himself and of his at times doubly errant world, ultimately approaching the void with a serenity, even playful appropriation. Günter Baumann / art historian/Gallery owner , Schlichtenmaier Gallery, Stuttgart, Germany * ELSEWHERE Who takes the Cold Mountain Road takes a road that never ends the rivers are long and piled with rocks the streams are wide and choked with grass it’s not the rain that makes the moss slick and it’s not the wind that makes the pines moan who can get past the tangles of the world and sit with me in the clouds (Transl.: Bill Porter) These words were penned by the Chinese poet Hanshan. This name is a pseudonym, it means “cold mountain”. The poet lived in southeast China in the 9th century and was named after the mountain he lived on as a hermit. He wandered through its landscapes tirelessly and left his poems on rock faces, stones, and trees. Xianwei Zhu knows Hanshan well. The poet and the mountain. He came across the poems and was immediately fascinated. He decided to travel to that mountain and wander there, to be nearer to the poet and his poems. The mountain is a metaphor for the self. Hanshan’s poems are like a meditative process, they are like walking a road to seek one’s inner self. This also goes for Xianwei Zhu’s pictures. The quest for identity and ego, the search for one’s own self connect the painter and the poet. Additionally Xianwei Zhu has recognised an attractive link here to Western Romantic landscape paintings. The first impression you get from pictures of the Romantics and those of Xianwei Zhu is that a natural landscape is represented. Similarly the first impression on reading Hanshan’s poetry: it describes nature in the mountains. And yet, both poetry and painting deal with so much more: a mental landscape, an inner feeling, an inner awakening. “The painter should paint not only what he has in front of him, but also what he sees inside himself.” (Caspar David Friedrich) Nature, landscape, and mountains have always held a great attraction to humankind. Nature becomes landscape through the conscious act of human seeing, becomes a very personal idea of that landscape. A landscape touches us at our core. It carries meaning as nature, as distance from civilisation, or even as an idea of paradise. On the one hand, a landscape seems familiar, on the other hand, it remains unapproachably strange in its autonomy and independence, its savageness, or even its eeriness. Especially the mountains are an ideal projection surface for wishes, dreams but also nightmares. In the 19th century, people made a commitment to individuality and to liberty and began to feel estranged from nature. The Romantic individual went on a quest for that seemingly lost unity. Poets and artists saw nature as a source of passionate feeling and gave it a metaphysical dimension. In their belief the “grandeur” of nature embraces a transcendental character; it is supposed to evoke reverence for creation. But nature is also a mirror of human emotions, of an inner image. But what kinds of landscape do we see here before us? They are inner images, but they remind us of Chinese landscapes and landscape paintings, as well as of landscapes in our climes and their Romantic renderings. Xianwei Zhu is interested in the dialogue between Chinese and European landscape painting, their respective philosophies as well as their techniques. He blurs the lines between Western and Far Eastern traditions. He goes hiking and mountaineering in Germany and Switzerland and incorporates these personal impressions into his paintings. Here we have the Romantic view of landscape, the feeling of awe at the grandeur and immensity of nature that causes reverence and terror. There, the Chinese idea of landscape that understands nature as a whole and thus painting as an attempt to grasp its growing and fading, to understand and depict its spirituality. Similar approaches, joined in Xianwei Zhu’s wonderful pictures. His paintings appear strange and familiar at the same time. This is what constitutes their great strength, this is what makes them contemporary and current. We are more similar than we think we are. We are likewise fascinated by the artistic quality of Zhu’s pictures. His open brushstroke continually moves along the thin line between representational and abstract rendering. The artist creates sketchy landscapes, perceptible as such only through miniature figures that make them concrete. Enormous nature, small humans: Zhu quotes the archetype of the Romantic landscape, certainly. Then again this setting renders a mystical, even fairy-tale-like character to his pictures, as many figurative details like houses or strange apparatuses will only be discerned on closer inspection. The paintings seem like fleeting memories, neither comprehensible nor intelligible. With a tender, yet strong style and a reduced palette of blues, browns, and greys, the artist creates atmospherically tense colour spaces. Earth and landscape emerge from air and light and seem to disappear in the delicate haze only a moment later. We thus also find a great melancholy in these pictures. Vast nature, mist-shrouded mountains, and a sometimes morbid beauty remind us of the transience and mortality of all being. And most of all: the lonesome individual thrown into this world, including their dark sides, the abyss lurking within them. I want to close with this poem by Hermann Hesse: In the Fog Strange to walk in the fog! Every bush and stone is lonely, no tree can see the other, each one is alone. The world was full of friends when my life was still light; now that the fog is falling, no one is visible anymore. Truly, no one is wise who does not know the darkness that quietly and inescapably separates him from everything. Strange to walk in the fog! Life is loneliness. No person knows the other, each one is alone. (Transl.: James Wright) Günther Oberhollenzer /art historian/Curator State Gallery of Lower Austria, Museum of Modern and Contemporary Art, Krems, Austria


Xianwei Zhu 


Guiyan He 
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posted 27. Sep 2021

Elizabeth Neel. Limb after Limb

16. Sep 202123. Oct 2021
16 September – 23 October 2021 Pilar Corrias Savile Row **Elizabeth Neel. Limb after Limb** Pilar Corrias is pleased to present Elizabeth Neel’s solo exhibition Limb after Limb, which will be on view at the gallery’s Savile Row gallery from 16 September until 23 October 2021. Originally conceived for the nave, apse and transept of a deconsecrated church, Neel’s new body of work explores themes of physicality, suffering, transformation, resuscitation, and redemption. Made in isolation on her family’s farm in rural Vermont, these works are influenced by the rawness of the natural environment and the dislocating reality of pandemic psychology. The artist’s large-scale paintings on canvas extend her interest in the externalisation of physical and psychological experience via abstraction. Using a diverse vocabulary of mark-making tools, including fingers, rags, brushes, monoprinting techniques and rollers, Neel’s paintings are ripe with emotive lyricism suggestive of the correlative and repetitious cycles of daily life. Analogous marks appear and reappear throughout her compositions–flat opaque swaths of white, extended droplets of paint, sweeping arches, and textural clouds of colour occupy the raw canvases as cooperative forces to build dynamic visual equations. These marks act as architectural or bodily supports, anchors for which to centre or contain forces of energy and movement that ripple through the paintings. Switching from vertical to horizontal, the marks act as points of reference and punctuations to orient the space of her compositions and to invite the viewer to absorb and consume their connections. During Frieze London, Pilar Corrias will premiere LIMB AFTER LIMB, a short documentary about Elizabeth Neel and her paintings, directed by Andrew Neel, her brother. Having grown up under idiosyncratic circumstances with Alice Neel as her grandmother, Neel has a unique, complex, engaging, and at times fraught experience being an artist. This film explores Neel’s psychological, biographic, and intellectual relationship to her works. It is an investigation of the artist’s process with semiotics, mark making, composing and the emotional vicissitudes of her experiences as a painter, resulting in the life affirming paintings the artist produces, captured on film in this documentary for the very first time.
Pilar Corrias, London

54 Eastcastle Street
W1W 8EF London

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