daily recommended exhibitions

posted 28. Jan 2023

screen time

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

KUNSTHAUS NRW | Abteigarten 6
52076 Aachen

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posted 27. Jan 2023

MARINA ABRAMOVIĆ. Gates and Portals

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

30 Pembroke Street
GB-0X1 1BP Oxford

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posted 26. Jan 2023

Gerhard Richter. Overpainted Photographs

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

Poststr. 2 / Poststr. 3
40213 Dusseldorf

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posted 25. Jan 2023

Living Pictures: Photography in Southeast Asia

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

Danielle Brathwaite-Shirley & Josèfa Ntjam

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

artists & participants

Danielle Brathwaite-Shirley,  Josefa Ntjam 
FACT Liverpool

FACT | 88 Wood Street
L1 4DQ Liverpool

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posted 23. Jan 2023


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

3/F, 27 Hu Qiu Road, Huangpu District

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posted 22. Jan 2023

Christoph Girardet – “A Theory of Ghosts"

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

48529 Nordhorn

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posted 21. Jan 2023

Black Place. Jutta Koether

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


Jutta Koether 
ARTIUM MUSEOA, Vitoria-Gasteiz °

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

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posted 20. Jan 2023

Morehshin Allahyari : Zoba’ah: The Whirlwind

28. Oct 202231. Jan 2023
28.10.2022 - 31.01.2023 **Morehshin Allahyari : Zoba’ah: The Whirlwind** Zoba’ah: The Whirlwind—a digital exhibition by Morehshin Allahyari. How can we participate in creating the world we want to see and live in? To download artist Morehshin Allahyari’s sculpture Zoba’ah: The Whirlwind you have to agree to a set of “terms and conditions” written by the artist and answer how you will take small actions to change the world in the bigger picture. In this way, you summon Zoba’ah, a creature from the Islamic world, who always brings about sudden change. To download you hereby agree, represent, and warrant that: You are here and you recognize your privileges (if any) have shaped your life experiences. Privilege is defined as “a special right, advantage, or immunity granted or available only or preferably to a particular person or group.“ You are here and you recognize that race, ethnicity, gender, class, and sexual preference determine our access to opportunities and resources. You are here because you recognize the inequalities and uneven realities of our world. You are here because you want to be more responsible, more aware, and kinder than your ancestors. You are here and you recognize the long ongoing history of Western colonization and white supremacy. You are here because you too believe that colonialism, racism, capitalism, sexism, and environmental crisis are some of the most troubling and ongoing issues of our contemporary world. You are here and you recognize the need for change. You are here and you will be an ally. You are here because you believe even small acts of resistance can make a difference. You are here and you believe the same troubles that shape our world today will shape our world in the future; if unchanged. You are here because you believe we need to do better. You are here because you want to make space. You are here because you want to participate in re-imagining another timeline. You are here because you want to participate in re-imagining another space. You are here because you want to participate in re-imagining another future for us all. Based on drawings of the jinn Zoba’ah from the 14th and 16th centuries, the Iranian-born artist Morehshin Allahyari has 3D modeled the sculpture Zoba’ah: The Whirlwind for the Museum of Contemporary Art’s virtual collection. In pre-Islamic and Islamic theology, a jinn is an intelligent spirit known as a shape-shifter created from smokeless fire, who exists in a parallel world. As one of the most powerful jinn, Zoba’ah, which translates as “whirlwind,” brings immediate change once summoned. Meaningful change is needed, Allahyari believes, in this time of fights for justice, wars, and urgent climate disasters. Therefore, she brings Zoba’ah into virtual space, which has represented a crucial public arena in recent years for transformative movements such as the current Iranian Uprising led by women under the hashtag #MahsaAmini, Arab Spring, anti-imperialist movements in Hong Kong, the EndSARS uprising in Nigeria, the worldwide Black Lives Matter protests, and the Me Too movement. The Museum of Contemporary Art (est. 1991 in Roskilde) collects, researches, and exhibits ephemeral and time-based artworks. To better host these formats and engage new audiences, the museum became an itinerant museum in 2021.
Museum of Contemporary Art, Roskilde

DK-4000 Roskilde

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posted 19. Jan 2023

David Novros – Paintings

30. Sep 202228. Jan 2023
September 30–December 18, 2022, extended through January 28, 2023 at 101 Spring Street in New York. **David Novros – Paintings** Judd Foundation is pleased to present David Novros – Paintings on the ground floor of 101 Spring Street. The two works in the exhibition, Boathouse (2016) and Untitled (Graham Studio Mural II) (2006), are large, polychromatic paintings, described by the artist as portable murals. These works relate to imagery that Novros first explored in a fresco he made for the second floor of 101 Spring Street in 1970 and are examples of his ongoing commitment to what he calls “painting-in-place.” Untitled (Graham Studio Mural II) was one of five works Novros made for the sculptor Robert Graham’s home and studio in Venice, California, and is one of two that are extant. Boathouse, a multipartite painting in oil and murano, was made after a related mural cycle conceived for a boathouse in Middleburgh, New York was destroyed. These works demonstrate Novros’s ongoing interest in structural wholeness, the interplay of color, and place. This exhibition presents new opportunities for considering Novros’s portable murals within the context of his permanent fresco at 101 Spring Street, and for seeing anew the importance of place and permanence to his work more broadly. Jörg Daur, Deputy Director of the Museum Wiesbaden, describes Novros’s paintings as “distinguished by an interplay with each place that fundamentally allows this place as such to emerge.”1 In 1970, two years after Donald Judd purchased 101 Spring Street, he asked Novros to create a work for the second floor. Judd and Novros shared an interest in permanence, and for the relation between a work of art and the architecture in which it is exhibited or for which it was made. As Novros recalls, “Judd was using that space as his laboratory to center on the belief that the placement of a work of art was critical to its understanding. He was thinking of the various paintings and sculptures of the building as a ‘permanent installation.’ It worked out well for both of us, because it suits my concept of how a work of art could exist in an architectural space.”2 This work, restored by Judd Foundation in collaboration with the artist in 2013, was Novros’s first true fresco. In conjunction with the exhibition, Judd Foundation will host a reading by poet and translator Bill Porter (Red Pine) on Thursday, October 13, and a conversation between David Novros, Flavin Judd, Artistic Director of Judd Foundation, and Dr. Matt L. Levy, Associate Professor of Art History, Music, Theatre, and Visual Arts program at Penn State Behrend, on Thursday, November 10. Both events will be held at 101 Spring Street. 1 Jörg Daur, “Wall as painting – painting as wall,” in David Novros, (Wiesbaden, Germany: Museum Wiesbaden, 2014), 65. 2 Phong Bui and David Novros, “In Conversation: David Novros with Phong Bui,” The Brooklyn Rail, June 2008, https://brooklynrail.org/ 2008/06/art/chuck-close-with-phong-bui-june-08. About David Novros David Novros (b. 1941, Los Angeles, CA) is known for both his large, abstract paintings on irregularly shaped, multipartite canvases and also site-specific works that push beyond internal pictorial space to engage the surrounding architectural context. His work was first exhibited in a two-person show with Mark di Suvero in 1965 at the Park Place Gallery, and was included in the hugely influential Systemic Painting at the Solomon R. Guggenheim Museum, New York in 1966. His work has been exhibited in prominent venues, including the Museum of Modern Art, New York; the Museum of Contemporary Art, Chicago; the Whitney Museum of American Art, New York; the Los Angeles Museum of Contemporary Art; the Dallas Museum of Fine Art; and the Museum of Fine Arts, Houston. Novros’s works are owned by international institutions, with significant collections held at the Museum Wiesbaden, Germany, and the Menil Collection, Houston. In 2021, Novros’s immersive installation of painted rooms created for the 1975 exhibition Marden, Novros, Rothko: Painting in the Age of Actuality was reinstalled for the first time at the Moody Center for the Arts at Rice University, Houston, TX. Novros lives and works in New York City.


David Novros 
Judd Foundation, New York

101 Spring Street
New York

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posted 18. Jan 2023

Mona Hatoum - all of a quiver

18. Sep 202214. May 2023
Kesselhaus 18. September 2022 – 14. Mai 2023 Eröffnung: 17. September, 18 – 21 Uhr **Mona Hatoum - all of a quiver** Mona Hatoum entwickelte eine raumgreifende, kinetische, ortsspezifische Installation, die sich die überragende Höhe des historischen Kesselhauses zunutze macht. Die Arbeit besteht aus einer hohen, gerasterten Struktur, die an das Gerüst eines im Bau oder Rückbau befindlichen Gebäudes erinnert. Hatoums Arbeit verweist auf die Umwälzungen der Gegenwart und auf unsere prekäre und fragile Existenz – sie bezeugt den Zusammenbruch vorherrschender Systeme und Versuche der Erneuerung und Rekonstruktion. Kuratorin: Kathrin Becker Ein Kooperationsprojekt des Neuen Berliner Kunstvereins, des KINDL – Zentrum für zeitgenössische Kunst und des Georg Kolbe Museum Kuratorinnen: Marius Babias, Kathrin Becker, Julia Wallner


Mona Hatoum 
KINDL – Zentrum für zeitgenössische Kunst, Berlin

12053 Berlin

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posted 17. Jan 2023

Marwa Arsanios - Reverse Shot

12. Oct 202222. Jan 2023
Marwa Arsanios Reverse Shot October 12, 2022–January 22, 2023 The Mosaic Rooms presents the first public London solo exhibition by Marwa Arsanios surveying her interdisciplinary practice. The exhibition reflects on colonial and ecological violence, and the impacts of urbanism and capitalism. Arsanios’ expansive projects seek alternative ways to collectively resist and reclaim knowledge, and to practice a more harmonious relationship with the land. The exhibition opens with a presentation of the artists reading room. Visitors are invited to sit in the reading room and engage with texts together, as part of the artists longstanding interest in language, politics, and collaborative processes. Here, Arsanios has curated a selection of books to initiate discussion on alternative visions to mainstream patriarchal ideologies relating to ecology, politics, anarchist and feminist thought. Visitors and programme collaborators are also being invited to leave texts to share throughout the exhibition and the reading room will be activated through different programmed reading sessions. In the main room the works reflect on the systems of capitalism, and the lasting effects of the neo-liberal boom on both environmental and socio-political factors. Falling is not collapsing, falling is extending, draws on two instances to critically reflect on the effects of rapid capitalisation and urbanisation in Beirut since the 1990s. Arsanios reflects on the real estate drive and reconstruction of Beirut’s city centre following the civil war. In parallel the film looks at the rubbish crisis of 2015, where thousands of tons of garbage filled the streets. The work also consists of Resilient Weeds, a botanic archive of drawings of plants and animals that can survive the toxic levels of these sites. The large textile work on display came out of collaboration during the Who is Afraid of Ideology series of films with the women of the village of Jinwar in Northern Syria. The design by the artist was an attempt at translating the vision of the village described by the women themselves. Embroidery, a local skill, was used by Manal Mohammad, Khansa Nouh, and Maha Jermani from Sama organisation to turn the design into a tapestry. In another video installation, the film Amateurs, Stars and Extras or Labor of Loveuses the blur between stage and backstage to reflect on the labour of underpaid or unpaid domestic workers. Mainly performed by women who are often the fundamental actors in domestic economy, the film looks at the invisible work of care as experienced by domestic workers in different sites and geographies. Shifting between TV sets, behind the scenes, castings and acting, the film interrogates the role of extras in film as silent actors in relation to underpaid domestic work. It highlights the radical potential of collective political projects to affect change through the voices of syndicalists from the domestic workers’ syndicate in Mexico City. The exhibition concludes with the fourth chapter of Who is Afraid of Ideology? series Reverse Shot. The film departs from a collaborative project that is attempting to shift the status of a private land in the North of Lebanon to a common or a social waqf. The aim being to advance the right of usership over ownership. The land would only be used by people who do not own a land for agricultural purposes. The film follows this process and adds to it a reflection on the way land as a living object inherently resists property. The connections between the geological, historical, legal and agricultural invites an opportunity to imagine renewed connections with the earth. As part of the exhibition, a selection of posters by the artist will also be installed off site in public locations throughout London from October 10 until October 23, 2022. The public programme accompanying the exhibition features artists, activists, and scholars whose work and research explores how to organise with and from land as a focal point. Full programme can be found on mosaicrooms.org.
Mosaic Rooms, London

226 Cromwell Road
SW5 0SW London

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posted 16. Jan 2023

Sonia Boyce. The Disorderly

26. Nov 202228. Jan 2023
26.11.2022 - 28.01.2023 ** Sonia Boyce The Disorderly** APALAZZOGALLERY is honoured to present Sonia Boyce OBE RA’s new solo exhibition at the gallery, opening Saturday 26 November 2022. Following Feeling Her Way at the British Pavilion, the Golden Lion winner for best national participation at the 59th Venice Biennale, Sonia Boyce presents The Disorderly. The show consists of two video installations brought together with printed wallpapers and a new body of digital photographs. Boyce came to prominence in the early 1980s as a key figure in the burgeoning Black-British art scene of that time – becoming one of the youngest artists of her generation to have her work purchased by Tate, with paintings that spoke about race and gender in Britain. Since the 1990s Boyce’s practice has taken a more multi-media and improvisational turn by bringing people together in a social practice that encourages others to speak, sing or move in relation to the past and the present. At the heart of her work are questions about the production and reception of unexpected gestures, with an underlying interest in the intersection of personal and political subjectivities. For almost forty years, the artist has consistently worked within the art school context. Between 2012-2017, she was Professor of Fine Art at Middle-sex University and since 2014 she has been a Professor of Black Art & Design at the University of the Arts London. The 3-year research project Black Artists & Modernism culminated with the 2018 BBC documentary Whoever Heard of a Black Artist?, on forgotten artists of African and Asian descent and their contribution to the story of Modern British art. APALAZZOGALLERY and Sonia Boyce have worked together since 2014 and The Disorderly will be the artist’s second show at the gallery. The sensual transgressions of masquerade and the carnivalesque, as well as a consideration of the historical within the contemporary, are brought together in two projects at APALAZZOGALLERY for the exhibition The Disorderly by artist, Sonia Boyce. The gallery presents Crop Over (2007) a two-screen video installation with Shaggy Bear Wallpaper (2021) and a re-working of one of the performances from Six Acts (2018) titled Ain’t Misbehavin’ (2022) a two-screen video installation with wallpaper. Crop Over (2007) looks at the relationship between the Lascelles Family – the owners of Harewood House, a stately home in Leeds, England, and slavery in Barbados, the Caribbean. From the perspective of Barbados, the legacies of slavery through sugar plantation life can be seen in longstanding folkloric characters like Shaggy Bear, the Mother Sally, Donkey-Man and Stilt- Walker. As the films unfold, cultural historians comment on these characters who appear throughout the Barbadian Crop Over harvest festival. These commentators give us a brief insight into Crop Over’s history and contemporary meaning. The quiet tempo of pastoral scenes and grand manors in the films shift as we arrive at the pinnacle of the harvest festival, Kadooment Day. We are submerged into the dazzling world of Mas bands and sensorial street revellers. The Disorderly, also reconsiders Six Acts (2018) a project that attracted world-wide attention for the take down of a Pre-Raphaelite painting ‘Hylas and the Nymphs’ (1896) by John William Waterhouse held by Manchester Art Gallery. Boyce has re-worked the performance documentation to re-stage a sense of reverie and abundance that characterises the other performances of that night by Lasana Shabazz and the drag collective Family Gorgeous (Cheddar Gorgeous, Anna Phylactic, Venus Vienna and Liquorice Black). Lasana Shabazz begins the films Ain’t Misbehavin’ (2022) in front of a painted portrait of a black male, the first work of art to enter the collection of the Manchester Art Gallery in the nineteenth century. The painting by James Northcote Othello, The Moor of Venice (1826) was originally titled ‘The Moor’ meaning simply ‘The Black’. The anonymity inherent in the title was changed after museum curators discovered that it was a portrait of the celebrated 19th-century Shakespearean actor Ira Aldridge, who had a prolific career first in the US where he was born, and then in the UK. Shabazz appears in drag, a performative mode that is often associated with Shakespearean theatre when females were forbidden to publicly appear on stage and, instead, males played female roles. Aldridge, as a performer, was also known to appear as a black-face minstrel – a racist caricature of African Americans typically performed by white actors – he also performed in white-face when he played white characters on stage. Shabazz delves into these complex and contradictory identity formations as he interacts with the invited audience, who are coerced into responding to his uncomfortable prompts. Across both projects, transgressions proliferate. They un-mask and resist binaries, instead releasing historical constraints and conditions, whether that is about the imagined certainties of race or gender or sexuality – and criss- cross between the everyday and the extraordinary.


Sonia Boyce 
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posted 15. Jan 2023

Ghada Amer - Retrospective / A woman's voice is revolution

02. Dec 202216. Apr 2023
02.12.2022 - 16.04.2023 **Ghada Amer** At the Mucem (Fort Saint-Jean): Ghada Amer. East الشرق الغرب—West At the Fort Saint-Jean (in the Georges Henri Rivière building), the artist’s transcultural and international career will be highlighted. The East, its perception by the West, the translatability of one culture into another, religion, the status of women, current affairs: these are all themes on which Ghada Amer delivers a personal, committed and nuanced vision, asserting herself as one of the great voices in the current debates on the post-colonial challenges of creative work. In addition, a garden sculpture will be created outside at the Fort Saint-Jean. At FRAC PACA: Ghada Amer. Women & feminisms For Ghada Amer, the question of women transcends that of cultural and religious affiliation. Resolutely feminist, she has taken up the traditionally feminine medium of embroidery as a painter. Part homage, part vindication, her paintings enter into a dialogue with the masters of an art history that has been dominated by men for too long. Beyond that, they develop under the sign of a jubilant creative power and a new interest for portraiture. At the chapelle de la Vieille Charité: Ghada Amer sculptor Through exciting transfers from one technique to another, Ghada Amer’s pictorial experimentations invest in the field of sculpture – through installations and landscape sculptures, but also through ceramic and bronze works recently pushed in the direction of monumentality.  * The Ghada Amer exhibition is the first retrospective of the artist in France. Born in Cairo in 1963, Ghada Amer moved to Nice in 1974 with her parents. Some ten years later, she trained at the Villa Arson, before joining the Institut des hautes études en arts plastiques in Paris. Outraged by the difficulty of asserting herself as a painter in the 1980s, and even more so as a woman painter, Ghada Amer developed an oeuvre of of canvases and embroidered installations as well as sculptures and gardens, through which painting gradually asserted itself. In 1999, she was invited by Harald Szeemann to exhibit at the Venice Biennale, where she received the UNESCO prize. Since 1996 she has lived and worked in New York. In three venues in Marseille, the retrospective brings together the different modes of plastic expression of the Franco-Egyptian artist, from her beginnings to her most recent works. Commissaires: Hélia Paukner, Philippe Dagen The Ghada Amer exhibition was designed and organized by the Mucem, Museum of European and Mediterranean Civilizations in partnership with the Museums of Marseille-Centre de la Vieille Charité and the Frac Provence-Alpes-Côte d'Azur.


Ghada Amer 
MUCEM Marseille

13002 Marseille

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posted 14. Jan 2023

Sandra Mujinga. IBMSWR: I Build My Skin With Rocks

09. Dec 202201. May 2023
09.12.2022 - 01.05.2023 Eröffnung: Donnerstag, 08.12.2022, 20 Uhr **Sandra Mujinga. IBMSWR: I Build My Skin With Rocks** Eine Sonderausstellung der Nationalgalerie – Staatliche Museen zu Berlin Für ihre Ausstellung im Hamburger Bahnhof bespielt Sandra Mujinga die Historische Halle mit der neuen Video-Installation „I Build My Skin with Rocks“. In der Arbeit bezieht sich die Künstlerin auf die durch Evolution bedingten körperlichen Anpassungen von Tieren, indem sie die dicke Haut des Elefanten zum Vorbild nimmt. Im Mittelpunkt steht ein fantastisches Wesen mit der Kraft, sich so zu vergrößern, dass es für das menschliche Auge nicht mehr erfassbar ist. Es wird zu einer schimmernden Landschaft, aus der Fragmente seines steinigen Körpers hervorbrechen. Sandra Mujinga (*1989, Goma, Demokratische Republik Kongo, lebt in Berlin und Oslo) erhielt den Preis der Nationalgalerie 2021.


Daniel Milnes 
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posted 13. Jan 2023

Ölrausch und Huzulenkult - Fotografische Streitobjekte aus Galizien und der Bukowina

18. Nov 202226. Mar 2023
opening: 17. Nov 2022 07:00 pm
18.11.2022 – 26.03.2023 Eröffnung: 17.11.2022, 19.00 Uhr **Ölrausch und Huzulenkult Fotografische Streitobjekte aus Galizien und der Bukowina** Die modernste Industrie in der ärmsten Region: Nirgends prallten die Gegensätze stärker aufeinander als an der Peripherie der Habsburgermonarchie. Während Erdölingenieure und Spekulanten Galizien und die Bukowina in die Moderne katapultierten, suchten Ethnografen bei den in den schwer zugänglichen östlichen Karpaten lebenden Menschen nach den Resten einer vermeintlichen Ursprünglichkeit, nach ungebrochenen Traditionen in Kleidung oder Kunsthandwerk, Bräuchen oder Hausbau. Doch das auf den ersten Blick rein wissenschaftliche Interesse an den „Huzulen“ spiegelte die wachsenden politischen Spannungen, die mit den radikalen gesellschaftlichen Umbrüchen einhergingen. Ukrainische, polnische, rumänische und deutschsprachige Eliten versuchten, „Land und Leute“ für ihre jeweiligen Ziele einzuspannen. Gemeinsam war diesen Akteuren, dass sie trotz konträrer Standpunkte immer wieder auf dieselben Bilder des in Kolomea/Galizien ansässigen kommerziellen Fotografen Julius Dutkiewicz zurückgriffen. Seine Industrieaufnahmen dienten in Ausstellungen und Publikationen zur Darstellung wirtschaftlicher Prosperität des Landes, seine weit verbreiteten „Typenfotos“ wiederum festigten die Vorstellung von den „Huzulen“ als einer Völkerschaft, die anderswo in Europa längst abgelegte Sitten bewahrt hätte. Eine Kooperation zwischen dem Volkskundemuseum Wien und dem Photoinstitut Bonartes, Wien. Kuratorinnen Monika Faber, Martin Keckeis (Photoinstitut Bonartes) Herbert Justnik (Volkskundemuseum Wien) Wissenschaftliche Beratung Martin Rohde Sammlungsmanagement und wissenschaftliche Aufarbeitung Astrid Hammer, Katharina Zwerger-Peleska Mitarbeit: Tamara Hauer Ausstellungsgestaltung Walter Kirpicsenko
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posted 12. Jan 2023

Rafael Domenech: The Medium is the Massage

09. Sep 202218. Jun 2023
Sep 9, 2022 – Jun 18, 2023 **Rafael Domenech: The Medium is the Massage** The Medium is the Massage is a new commission by the Cuban American artist Rafael Domenech for a year-long pavilion for self-publishing, collective reading, and programs at the ICA. With a nod to the eponymous book by Marshall McLuhan and graphic designer Quentin Fiore, this project considers the forms, standards, conventions and errors that are part of exhibition making. Interested in publishing as a methodology for making exhibitions, The Medium is the Massage is a publication that the public can inhabit as a book-in-space. In keeping with the artist’s philosophy on waste, optimization, and challenging mechanisms of value, at the end of the show the public will be invited to take what remains of the show home. Rafael Domenech (b. 1989, Havana) lives and works in New York. He is interested in artist books, the afterlives of material, how we read, how things circulate, and how we produce art and exhibition.
ICA Richmond

601 W Broad St
VA 23220 Richmond

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posted 11. Jan 2023

HAP Grieshaber / Von Gauklern, Engeln und Tieren

03. Dec 202214. Jan 2023
opening: 03. Dec 2022 03:00 pm
03.12.2022 - 14.01.2023 Eröffnung der Ausstellung laden wie Sie und Ihre Freunde am SAMSTAG, 3. Dezember, um 15 Uhr Es spricht: Dr. Günter Baumann **HAP Grieshaber / Von Gauklern, Engeln und Tieren** Weltbürger, trotz allem »Im Herzen der Welt / Schneidet er / Die Welt / In unser Herz ...«. (Rose Ausländer) HAP Grieshaber, dessen Schaffen wie ein Bollwerk des Geistes gegen die äußeren und inneren Unfreiheiten erscheint, sah sich als Gaukler im Zirkus namens Welt und als Kosmopolit in seinem Refugium auf der Achalm, als Beschützer der Kreatur und der Natur genauso wie als Homo politicus, der sich einmischt und Partei ergreift: ein Monolith unter all den Künstlerpersönlichkeiten des 20. Jahrhunderts, deren Arbeiten er aufmerksam wahrnahm, ohne dass er sich jemals von ihnen vereinnahmen ließ. Hölzel, Baumeister, Feininger, Picasso u.a.m. beeindruckten ihn, die Bandbreite seiner Inspirationsquellen reicht von den Holzschneidern der Einblattdrucke im 15. Jahrhundert bis hin zu Joseph Beuys. Er selbst wirkte auf seine Zeit – als Lehrer beeinflusste er unmittelbar auf junge Kollegen wie Antes, Krieg, Schanz, Stöhrer, als Wegbereiter und Apologet der neuen Figuration nahm er die neuen Wilden wie Baselitz oder Lüpertz vor- weg: Sein »Weltgericht« in Form eines Altar-Triptychons von 1970, das den Sit- zungssaal des Verteidigungsausschusses im damals gerade fertiggestellten Abgeordnetenhauses der Bundesregierung in Bonn zierte, reagierte auf den Kal- ten Krieg: das apokalyptische Flammeninferno mit Atompilz und einem richten- den Engel, flankiert von Adam und Eva, könnte als gewaltiger Auftakt dessen gesehen werden, was später die Neuen Wilden auszeichnete – der Aufruhr der Kunst, insbesondere der Malerei. Der Entwurf zur monumentalen Mitteltafel ist in der aktuellen Ausstellung der Galerie Schlichtenmaier zu sehen, und er macht schlagartig klar, wie zeitgemäß dieses ganze Werk ist in einer Zeit, die erneut Gefahr läuft, in einem atomaren Weltkrieg zu entflammen. Dieser Entwurf zeigt eindrucksvoll, dass der Holzschneider auch malerisch auf der Höhe der Zeit war, was auch durch seine gestisch expressiven Gouachen und durch die erst spät rezipierten ›Malbriefe‹ imposant bestätigt wurde. So konnte er in der traditionell der Malerei nachgeordneten Technik des Holzschnitts zum Spirtus rector der modernen Figur werden und zugleich an die Höhepunkte des Hochdrucks in der Dürerzeit und des deutschen »Brücke«-Expressionismus anknüpfen und so selbst Kunstgeschichte schreiben. Die Wanderschaft des kreativen Geistes begann für Grieshaber mit der Schrift- setzerlehre in Reutlingen und der anschließenden Ausbildung zum Gebrauchs- grafiker in Stuttgart, gefolgt von tatsächlichen Fernreisen nach London, Paris, Ägypten und Griechenland, bevor er 1933 seine ersten Wurzeln auf der Achalm schlug – ausgerechnet im Jahr der Machtübernahme durch die Nazis. Im Abseits des Terrorregimes widmete er sich der mittelalterlichen Mystik, der »Passion« oder der Darstellung der Schwäbischen Alb, scheinbar unpolitisch, doch immer auf die großen Themen der Menschheit ausgerichtet – Leben, Liebe und Tod, auch das Miteinander von Mensch und Tier. In den 1930er Jahren ist Grieshaber ein Suchender: Mit groben Linien oder fragilen Stakkato-Hieben formt er die Druckstöcke und lotet seinen Stil aus. Berufsverbot, Zwangsrekrutierung, Kriegs- gefangenschaft und Hungerwinter werfen seine Generation zurück auf existen- zielle Überlebensstrategien. 1946 festigt sich Grieshaber auf der Achalm, wo er seinen Weltgeist entfalten kann – mit einem trotzigen »malgré tout« (›trotz allem‹), das zu seinem Lebensmotto wird. Er wird zum Vorkämpfer eines ökologi- schen Bewusstseins, das den Einklang von Natur, Tier und Mensch einfordert; er sucht den Kontakt zu angehenden Künstlern, deren Lehrer er zunächst an der legendären Bernsteinschule, dann als Heckel-Nachfolger an der Karlsruher Kunstakademie wird, fordert von den Jungkünstlern den Aufstand gegen die etablierte Kunst und ist sich nicht zu schade, seine Professur im Jahr 1960 hinzu- werfen, weil die Prüfungsordnung noch aus dem Dritten Reich stammte; er macht seinem rebellischen Naturell auch später alle Ehre, als er mit seinen Mitteln die Vergehen der Diktatoren in Chile und in Griechenland anprangerte; er scheut nicht zuletzt, Kontakte zum anderen Teil Deutschlands aufzubauen und sich laut- stark für die Demokratie einzusetzen. Seine ihm ungeliebten Vornamen Helmut Andreas Paul verkürzte er zu einem großgeschriebenem »HAP«, welches das Zeug zu einem Markenzeichen hatte. Grieshaber – in seiner Signatur betont klein geschrieben – brach mit dem Aka- demismus, aber auch mit dem Formalismus. Er propagierte eine engagierte figurative Kunst, die aufbegehrt. Der komplexen Wirklichkeit sollte mit einer komplexen Bildsprache begegnet, das Angelernte durch die Schulung des emp- findenden Sehens ersetzt werden. Nicht das Abbild des Gesehenen zählte, sondern die freie Bildfindung. Was er den Lernenden beibrachte, war auch sein eigenes Credo: die Vorbilder hinter sich lassen, immer gegenwärtig bleiben, andere mitnehmen, aber »im kollektiv einsam und selbständig« sein, nie stehen bleiben, begeisterungsfähig dem eigenen Herzen und den eigenen Augen fol- gen, allen »mätzchen« misstrauen und – durchaus irritierend –: alles vernichten, »was nach kunst aussieht durch größere lebendigkeit und stärkeren ausdruck der form«. Sein Siegeszug des modernen, avantgardistischen Holzschnitts beginnt nach 1946 malerisch, melancholisch, auch hoffnungsfroh (»Ein guter Geist weht um die Achalm«). Um die Jahrhundertmitte ist der reife Stil zu verankern, der einen figurativen Parallel-Kosmos zu Willi Baumeisters fabulierender, experimen- tierfreudiger Abstraktion prägt. Mit symbolischer Vielschichtigkeit widmet er sich den Tages- und Jahreszeiten, den Mythen, der Tierwelt. Raffiniert verzahnt er in mehreren Druckstöcken die verschiedenen Existenzen so miteinander, dass ein hochkomplexes Gefüge aus Farben und Formen entsteht. Die 1960er und 70er Jahre sind Grieshabers Zeit der Vollendung. Bedeutende Themenkomplexe entstehen, beispielsweise die Arbeiten zum »Totentanz«, zur »Baumblüte«, zum »Feuervogel« oder zu Orffs »Carmina Burana«, auch zum »Prometheus«-Mythos von Aischylos, den Grieshaber notgedrungen – mit zersplitterter Schulter – als Serigrafie ausführte. Der nahezu barocken Sinnenfreude, unbändigen Faszinati- on am Formspiel und phantastischen Erfindungskraft sind keine Grenzen gesetzt. So entstehen grandiose Einzelblätter wie die »Siamkatzen«, Hommagen wie die für Caspar David Friedrich, Pablo Picasso, Samuel Beckett (»Godot«) u.a., auch allegorische Drucke wie die »Mutter«, deren ungeborenes Kind wie in einem Gefängnis im Bauchraum festsitzt, die Mutter mit betrübtem Blick, die Arme hilflos nach unten hängend – wir werden gewahr, dass über dem werdenden, schutzbedürftigen Leben immer auch der Schatten existenzieller Not, Bedro- hung und Gewalt liegt. Der Zeitkritiker, Bukoliker, Naturhymniker, Intellektuelle, Humanist und Weltbürger lebte und dachte gegen die Norm, erklärtermaßen ›unsymmetrisch‹, partisanengleich. Rose Ausländers Gedicht auf Grieshabers Grabstein, dem die Verse des obigen Mottos entstammen, lautete in der Folge- strophe: »Menschen Tiere Pflanzen / Dinge / Atmen / in unendlichem / Formen- und Farben-Spiel / Wir schauen / und / staunen«. Sein großer künstlerischer Atem reicht bis in unsere Gegenwart. Günter Baumann
Galerie Schlichtenmaier, SCHLOSS DÄTZINGEN

71120 Grafenau

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posted 10. Jan 2023

Barbara Kruger

03. Nov 202221. Jan 2024
03.11.2022 - 21.01.2024 **Barbara Kruger** For more than 40 years, Barbara Kruger (b. 1945 in Newark, NJ) has been a consistent, critical observer of contemporary culture. In the early 1980s, Kruger perfected a signature style of words and images extracted from mass media and recomposed into memorable, graphic artworks. Her iconic works, such as Untitled (I shop therefore I am), 1987, and Untitled (Your body is a battleground), 1989, combine cropped, black-and-white photographic images with provocative short texts printed on solid colored bars. Often these works address viewers directly with personal pronouns—like “you” and “me”—while confounding clear notions of who is speaking. Kruger’s prodigious work has come to represent debates on women’s rights, identity, consumerism, and capitalism raging since the 80s. Rigorously composed, her works have occupied a range of media and spaces, including walls, billboards, video projections, and an array of consumer products. Since the 1990s, Kruger has also created large-scale installations of her text-based art, transforming lobbies, elevators, and buildings with her signature aesthetic and pointed content. Continuing in this vein, Kruger will create a brand-new work for the ICA that speaks, as her work has done for more than four decades, to contemporary social and political dynamics. Organized by Ruth Erickson, Mannion Family Senior Curator.


Ruth Erickson 
ICA Boston

ICA | 25 Harbor Shore Drive
MA 02210 Boston

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posted 09. Jan 2023

Afro Basaldella. The Poetry of Painting

02. Dec 202204. Feb 2023
02. Dezember, 2022 – 04. Februar, 2023 **Afro Basaldella The Poetry of Painting** Mit Afro – The Poetry of Painting präsentiert SETAREH die erste Einzelausstellung des italienischen Malers in Deutschland, seit er Ende der 1960er Jahre in der Neuen Nationalgalerie in Berlin, im Kunstverein Hamburg und der Kunsthalle Darmstadt mit großen Werkschauen vertreten war. Sie wird in enger Kooperation mit der in Italien ansässigen Fondazione Afro Basaldella konzipiert. Alle ausgestellten Werke stammen exklusiv aus dem Nachlass des Künstlers. Die ausgewählten Malereien auf Leinwand und Papier, mit Schwerpunkt auf die 50er und 60er Jahre, wurden so noch nie öffentlich gezeigt. Diese Präsentation knüpft damit thematisch an die von SETAREH in den letzten Jahren gezeigten Ausstel- lungen DEPARTURE FROM THE SURFACE – The Invention of Italian Modernism (2015), A Gesture of Conviction – Women of Abstract Expressionism (2018) und Art of Another Kind – A new Approach to Postwar Abstraction (2021) an, welche namhafte Kunst nach 1945 bereits als maßgebliches internationales Phänomen der Postmoderne belichteten. Heute erfährt Afros Werk nicht nur in Italien und Europa, sondern auch in den USA unter Kennern und Sammlern große Wert- schätzung. Zuletzt wurden seine Arbeiten auf der diesjährigen Biennale di Venezia mit der Retrospektive 1950-1970 From Italy to America and Back in der Ca’ Pesaro – Galleria Internazionale d‘Arte Moderna gezeigt. Mit dieser Ausstellung wird Afros Œvre somit erneut in einem Kontext gesehen, der neben der Qualität seiner Werke auch die kunsthistorische Relevanz seines Schaffens in die zeitgenössische Betrachtung bringt. Gemälde des Künstlers befinden sich heute in vielen wichtigen öffentlichen und privaten Sammlungen: u.a. im Museum of Modern Art und im Solomon R. Guggenheim Museum in New York, im Centre Pompidou in Paris, in der Pinacoteca di Brera in Mailand, in der Tate Modern in London und in der Neuen Nationalgalerie in Berlin.
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