daily recommended exhibitions

posted 23. Jun 2021

the pleasurable, the illegible, the multiple, the mundane

30. Apr 202111. Jul 2021
30.04.2021 - 11.07.2021 **the pleasurable, the illegible, the multiple, the mundane** Boris Achour, Jack Ball, Louise Bourgeois, Ellen Cantor, Carla Cescon, Laurent Grasso, Louise Haselton, Dylan Mira, Wura-Natasha Ogunji, Rachel Rose, Fannie Sosa and Jelena Telecki Curated by Talia Linz​ Delving into personal belief systems as well as broader social frameworks, the pleasurable, the illegible, the multiple, the mundane explores the fabric of our relationships, from the interpersonal to the interplanetary. Here are private rituals, games between lovers, existential thought forms, historical mistruths, perennial riddles. The artists represented cover wide ground but all engage with art as a means of embodied discovery or revelation. They present themselves as many and morphing in a web of relational identities: child, parent, lover, other. Past and future selves meet and diverge. Knowledge and faith come in and out of focus. The works move between comedy and sincerity, irony and honesty, fiction and truth. Many draw on diaristic tendencies or something of the confessional, revealing quirky, personal and complex worlds. Poetry and symbolism dominate. As do forms of marking of the self – individual and collective – through time. In this moment of global introspection and deceleration, the pleasurable, the illegible, the multiple, the mundane draws on love and loss, then and now, aligning intergenerational practices that engage with truth seeking and confidence tricking in the games of art and life.

curator

Talia Linz 
artspace Sydney

43 - 51 Cowper Wharf Road
NSW 2011 Sydney

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posted 22. Jun 2021

ANNE HARDY. Rising Heat

14. Apr 202106. Jul 2021
opening: 18. Feb 2021
14 April - 06 June 2021 **ANNE HARDY. Rising Heat** online exhibition launch: 18 February 2021 [link: www.maureenpaley.com](https://www.maureenpaley.com/exhibitions/online-exhibition-anne-hardy?image=1) This is the fifth solo exhibition at the gallery by Anne Hardy and her first in the gallery’s new project space Studio M, located in the Rochelle School on Arnold Circus in Shoreditch. The exhibition is scheduled to open to the public once the lockdown restrictions are eased and will be initially launched online and accompanied by a new video with Anne Hardy. Presented in Studio M will be a selection of unique photograms that were produced in 2020 and form a new series titled The Depth of Darkness, the Return of the Light. The materials used in the production of these works were gathered from the River Thames foreshore while the artist was researching her 2019/2020 commission for Tate Britain, which took inspiration from the rhythms of the earth and the tides of the river in order to transform the façade of the building. Working in an analogue photographic darkroom the artist has manipulated light over an arrangement of these objects that are at once the source and the outcome of her field research. Anne Hardy came to prominence in the early 2000’s with her large-scale photographs that depicted constructed environments that were made privately in her studio. Over the years her working process has expanded to include the presentation of sound works, films, sculpture and the construction of immersive environments - FIELDworks - that can be accessed and experienced in life. The built structures that make up these environments utilise choreographed sequences of manipulated light, sound and air that are grounded in colour fields made from architectural forms. The starting point for these works is often the discovery of found or ‘lost’ objects, atmospheres and sounds that are collected and recorded in bypassed areas of the city such as the East London Docklands or the banks of the river Thames. Places she describes as ‘pockets of wild space ... where loose-ends, feelings and thoughts collect’. These elements become a sensory language that is used to describe a newly imagined landscape. This working process is also played out in the quiet of the photographic darkroom, where the urban jetsam and street-combings that have been sourced while wandering in the city are manoeuvred in the dark under dialled in hues of coloured light to realise unexpected pictorial forms and colour fields, that are borne from fiction while rooted in reality. “The darkroom feels like a temporary suspension from the world, where momentary collisions between light, debris, paper and chemistry can conjure up unexpected and imagined spaces”. Anne Hardy lives and works in London, UK and will be included in British Art Show 9, 2021/2022 and will be a 2021 Artist in Residence, at Chinati Foundation, Marfa TX, USA. Solo exhibitions include The Depth of Darkness, the Return of the Light, Tate Britain Winter Commission, Tate Britain, London, UK and The Weather Garden, Anne Hardy curates the Arts Council Collection, Towner Gallery, Eastbourne, UK, 2019; Falling and Walking (phhhhhhhhhhh phosshhhhhcrrhhhhhzzz mn huaooogh), Leeds Art Gallery, Leeds, UK, Sensory Spaces #13, Museum Boijmans Van Beuningen, Rotterdam, The Netherlands 2018; Falling and Walking (phhhhhhhhhhh phosshhhhhcrrhhhhhzzz mn huaooogh), Art Night 2017, co-commissioned by Art Night and The Contemporary Art Society, Nichols and Clarke Showrooms, London, UK, 2017; FIELD, Modern Art Oxford, Oxford, TWIN FIELDS, The Common Guild, Glasgow, rrmmmph, huooghg, op, mmmuuoow, ip , FIG-2, ICA studio, London, 2015; Fieldworks, Kunstverein Freiburg, 2014; Vienna Secession, 2012; New Acquisitions from the Arts Council Collection 2010, Anne Hardy — Recent Work, Project Space, Longside Gallery, Yorkshire Sculpture Park, Wakefield, 2010. Selected group exhibitions include False Memory, Rugby Art Gallery, Rugby, UK and Ideas Travel Faster than Light, Mecklenburgh Square Garden Project 2020; Voici des fleurs, La Loge, Brussels, Belgium, Welcome to the Labyrinth, Marta Herford Museum for Art Architecture and Design, Herford, Germany, 2018; Portrait (for a Screenplay) of Beth Harmon, Tenderpixel, London, UK, 2017; The Day Will Come When Photography Revises, Triennial of Photography Hamburg, Kunstverein Hamburg, Germany, which toured to Landesgalerie Linz, Austria, 2015, and also Mirrorcity curated by Stephanie Rosenthal at The Hayward Gallery, London, 2014

artist

Anne Hardy 
Maureen Paley, London

21 Herald Street
E2 6JT London

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posted 21. Jun 2021

Sam Francis. SPACE & CONTAINMENT

19. Feb 202127. Jun 2021
Sam Francis. SPACE & CONTAINMENT 19.02.2021 – 27.06.2021 In unserer Online-only Ausstellung ›Space & Containment‹ (Raum und Eingrenzung) präsentieren wir über 20 zumeist frühe Werke des amerikanischen Künstlers Sam Francis (1923-1994), dessen abstrakt expressive Malerei weit über Amerika hinaus Anerkennung gefunden hat. Francis war als kriegsversehrter Luftwaffenpilot zur Malerei gekommen und widmete sich ab den 1950er Jahren vollends seiner Bestimmung als Künstler. Neben seinen kalifornischen Wurzeln hatte er über viele Jahre ein Atelier in Tokio und übernahm unzählige Eindrücke seiner Reisen und Arbeitsaufenthalte in Asien und Europa in seine Kunst. “Painting is about the beauty of space and the power of containment” Sam Francis Dieses zentrale Zita (zu dt.: "In der Malerei geht es um die Schönheit des Raums und die Kraft der Eingrenzung") gab uns die Anregung zum Titel unserer Ausstellung. Trotz eines sehr deutlichen Schwerpunkts bei den frühen Werken bis 1964 gibt die Ausstellung einen Überblick über 40 Jahre Schaffenszeit: Aus seiner Werkgruppe von ineinanderfließenden Farbgebilden über seine leeren Flächenanordnungen aus Tokio, den sogenannten "edge paintings" hin zu den action paintings der späten Jahre. Francis kreiert seine Werke, indem er die Bildträger auf den Boden legt und die Farben von allen Seiten aus aufbringt, wobei er stets über den Blattrand oder einen vorher festgelegten Bildausschnitt hinausgehend arbeitet. Dynamische Farbspuren überlagern Farbflächen, die sich wiederum voneinander abgrenzen oder ineinanderlaufen. Es entsteht ein ausschnitthaftes, herausgelöstes Fragment als eigenständiges Werk, als Dokument eines künstlerischen Prozesses. "Rot, Blau, Gelb, Grün, Violett – spontan und dynamisch werden strahlend farbige Pigmente auf Papier und Leinwand gebracht. Dünn fließen Rinnsale über den Grund, bilden organisch anmutende Formkonstellationen, begegnen schwebenden Farbflächen, die wie leuchtende Inseln in einem See aus weißem Grund hervortreten. Scheinbar zufällig und intuitiv werden Muster gewebt, Synapsen hergestellt. Sam Francis’ Werke übermitteln uns noch viel mehr als es auf den ersten Blick scheint: Die endliche Abgrenzung des Materials durch die Ausschnitthaftigkeit und das Aufheben der Trennung zwischen Innen und Außen geben Einblick in den künstlerischen Schaffensprozess." Claudia Friedrich Zur Ausstellung erscheint ein 72-seitiger Katalog mit einem Essay von Claudia Friedrich

artist

Sam Francis 
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posted 20. Jun 2021

BarabásiLab. Hidden Patterns. Netzwerkdenken

01. May 202116. Jan 2022
opening: 30. Apr 2021 06:00 pm
BarabásiLab. Hidden Patterns. Netzwerkdenken 01.05.2021 – 16.01.2022 ZKM Lichthof 1+2, 2. OG Eine Ausstellung kuratiert vom ZKM | Zentrum für Kunst und Medien (Peter Weibel, Clara Runge) in Kooperation mit dem Ludwig Museum Budapest Pro Tag werden heute so viele Daten produziert wie zuvor nicht in Jahrzehnten. Um diese Datenmenge bewältigen zu können, braucht es eine neue Wissenschaft: die Visualisierung von kennzeichnenden Knoten und Netzen, von Parametern und Mustern. Die Ausstellung BarabásiLab. Hidden Patterns. Netzwerkdenken lädt ab 1. Mai 2021 ein, die unsichtbaren Datengebilde in ihren sichtbar gewordenen Netzwerkvisualisierungen des Physikers und Netzwerkwissenschaftlers Albert-László Barabási und seines Forschungslabors zu entdecken. Mit der Ausstellung BarabásiLab. Hidden Patterns. Netzwerkdenken stellt das ZKM | Karlsruhe die Tätigkeit des ungarischen Physikers und Netzwerkwissenschaftlers Albert-László Barabási (*1967, Cârța, Rumänien) und seines an der Northeastern University in Boston, USA, angesiedelten Forschungslabors vor. Innerhalb der letzten 25 Jahre hat das BarabásiLab ein visuelles Vokabular für Komplexität entwickelt, bei dem es sich vielfach auf Ausdrucksformen stützt, die der Kunst entnommen sind. Das innovative und interdisziplinäre Feld der Netzwerkforschung ermöglicht die Analyse verschiedenster kultureller und sozialer Phänomene, indem es unsichtbare, verborgene Verbindungen und sich stets wiederholende Muster innerhalb von Natur, Gesellschaft und Kultur sichtbar macht. Die Netzwerkwissenschaft wird unter anderem in Medizin, Pharmazie und Physik, aber auch in der Erforschung von Infrastrukturen, sozialen Systemen und Entwicklungsprozessen eingesetzt. Die in Kooperation mit dem Ludwig Museum in Budapest, Ungarn, realisierte Ausstellung liefert erstmals in Deutschland einen umfassenden Überblick über die vom BarabásiLab entwickelten Visualisierungsformen, die das Produkt eines kollaborativen Prozesses sind, an dem Wissenschaftler:innen, Künstler:innen, Designer:innen gleichermaßen beteiligt sind. Ohne der Komplexität unserer Welt einen reduktionistischen Rahmen aufzuzwingen, enthüllen die Arbeiten des BarabásiLab die verborgenen Muster in komplexen Systemen, die unsere biologische und soziale Existenz bestimmen. „Bis dato stellten die Menschen Korrelationen zwischen Worten und Wesen (Lebewesen, Gegenstände etc.) und zwischen Worten und Worten her. In einer komplexer gewordenen Welt, in der Daten über die Welt die Wesen und Worte, Bilder und Töne operieren, bedarf es neuer Modelle der Korrelationen: Netzwerke. Auf das verbale und visuelle Denken folgt das Zeitalter des Netzwerk-Denkens, das uns hilft, bisher verborgene Muster der Welt und unseres Handelns zu entdecken.“ – Peter Weibel Pressekonferenz Unter digitaler Anwesenheit von Albert-László Barabási und Peter Weibel Donnerstag, 29. April 2021, 10 Uhr. Bitte melden Sie sich spätestens bis zum 28. April 12 Uhr unter presse@zkm.de an. Eröffnungstag Freitag, 30. April 2021, ab 18 Uhr, online im ZKM Livestream in englischer Sprache 18 Uhr | Digitale Führung mit Albert-László Barabási durch die physische Ausstellung 19 Uhr | Online-Gespräch mit Albert-László Barabási, Alice Grishchenko, Isabel Meirelles und Peter Weibel, in englischer Sprache mit Simultanübersetzung Aktuelle Mitglieder des BarabásiLab Albert-László Barabási, Sara Benedetti, Csaba Both, Ayan Chatterjee, Szu Yu Chen, Amar Dhand, Xiao Gan, Alexander Gates, Alice Grishchenko, Deisy Gysi, Rachael Leary, Charles Levine, Yanchen Liu, Yang-Yu Liu, Enrico Maiorino, Giulia Menichetti, Shany Ofaim, Ben Piazza, Babak Ravandi, Peter Ruppert, Hiroki Sayama, Michael Sebek, Louis Shekhtman, James Stanfill, Kishore Vasan, Xindi Wang, Ursula Widocki Kuratiert von Peter Weibel mit Clara Runge Projektmanagement: Teresa Retzer, Clara Runge Technische Projektleitung: Anne Däuper Grafikdesign: Sascha Fronczek

artists & participants

Albert-Laszlo Barabasi,  BarabasiLab  
ZKM | Karlsruhe

Lorenzstraße 19
76135 Karlsruhe

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posted 19. Jun 2021

Minia Biabiany. Ich habe den Schmetterling in meinem Ohr getötet

19. Jun 202108. Aug 2021
opening: 18. Jun 2021 06:00 pm
Minia Biabiany J’ai tué le papillon dans mon oreille Ich habe den Schmetterling in meinem Ohr getötet 19.06.–08.08.2021 Pressegespräch Fr, 18.06.2021, 10 Uhr Öffnung der Ausstellung Fr, 18.06.2021, 18–22 Uhr Materialien, Klänge, Videos und Bilder arrangiert Minia Biabiany (*1988, Guadeloupe) zu räumlichen Erzählungen. Diese handeln von konfliktreichen und gewaltvollen Geschichten, die sich in die Landschaften der Inselgruppe Guadeloupe und in die Körper ihrer Bewohner*innen eingeschrieben haben. Sie berichten von fortwirkenden ökologischen und politischen Folgen der Plantagenwirtschaft und Sklaverei während der französischen Kolonialherrschaft sowie von der anhaltenden Kontamination des Ökosystems durch den Einsatz des Pestizids Chlordecone zwischen 1972 und 1993. Biabianys Praxis zeichnet sich durch eine besondere Aufmerksamkeit für die Beschaffenheit, Verwendung und Bedeutung von Materialien aus. Die auf dem Boden aus Erde aufgehäuften Linien verweisen in ihren sich daraus ergebenden Mustern auf eine traditionelle Webtechnik, die in der Karibik zur Herstellung von Fischreusen genutzt wurde. Biabiany verwebt und verflicht in der westlichen Geschichtsschreibung vergessene Erzählungen ihres Heimatlandes, das sich heute als eines der Übersee-Departements Frankreichs in neokolonialen Abhängigkeitsverhältnissen wiederfindet. Der Bewegung und intuitiven Erkundung im Raum sowie der sinnlich-leiblichen Raumerfahrung misst Biabiany eine entscheidende Bedeutung bei, um die sich dort überlagernden und durchmischenden Erzählungen in Relation setzen zu können. Sie unternimmt den Versuch, die Dichotomien von ‚Natur‘ und ‚Kultur‘, ‚Subjekt‘ und Objekt‘ aufzuheben und mehr-als-menschlichen Entitäten Gehör zu verschaffen. So können Verbindungen und Abhängigkeiten innerhalb eines Territoriums sichtbar gemacht werden: Muscheln treten als Kommunikationsmedien auf; herabhängende Ketten aus geformtem farbigem Wachs sowie verbrannte Holzstücke werden dem Wind als Votivgaben dargereicht, da diesem heilende und widerstandsleistende Kräfte zugesprochen werden; verbrannte bootskörperähnliche Weidekörbe verweisen in ihrer fragilen Beschaffenheit auf Ephemeralität und Schutzlosigkeit – auf jene Zustände, die sich in einer Vielheit von Sprachen, Stimmen und Bildern im Ausstellungsraum aufspüren lassen. In ihrer Auseinandersetzung mit Materialität, Seins- und Wirkweisen mehr-als-menschlicher Lebewesen führt Biabiany vor Augen, wie die Ausbeutung ökologischer Ressourcen untrennbar mit dem Fortbestehen kolonialer Machtstrukturen verbunden ist. Ich habe den Schmetterling in meinem Ohr getötet im Kunstverein Freiburg ist Biabianys erste institutionelle Einzelausstellung in Deutschland und eine Weiterentwicklung der 2020 in Le MAGASIN des horizons in Grenoble gezeigten Schau. Minia Biabiany (*1988, GP) lebt und arbeitet in Saint-Claude, GP und Mexiko- Stadt, MX. Einzelausstellungen (Auswahl): Musa Nuit, La Verrière, Brüssel, BE, 2020; Jài tué le papillon dans mon oreille, Magasin des horizons, Grenoble, FR, 2020; Spelling, SIGNAL art center, Malmö, SE, 2016; The unity is submarine, Galerie G, La Garde, FR, 2015;  (sex)intaxis, Cràter invertido, Mexiko-Stadt, MX, 2015; Envolvernos en la lluvia, Cntemporary Art Museum TEOR/éTica, San Jose, CR, 2014. Gruppenausstellungen (Auswahl): einen Monat nachdem man auf dieser Insel bekannt war, Kulturstiftung Basel H. Geiger, Basel, CH, 2020; Paroles de lieux, Les Tanneries, Amilly, FR, 2020; Echo-Natures: Cannibal Desire, Tout-Monde Festival, LHCC, Miami, US, 2019; Le jour des esprits est notre nuit, CRAC Alsace, Altkirch, FR, 2019; Diaspora Art From the Creole City, Corcoran School of the Arts and Design, Washington DC, US, 2019; We don’t need another Hero, 10. Berlin Biennale für zeitgenössische Kunst, Berlin, DE, 2018; The share of opulence; doubled; fractional; Galerie Sophie Tappeiner, Wien, AT, 2018; In the Belly of the Whale, Witte de With, Rotterdam, NL, 2016. Programm Sa, 19.06., 15 Uhr Künstleringespräch mit Minia Biabiany Di, 13.07., 19 Uhr Freiburg und die deutsche Kolonialgeschichte Vortrag und Gespräch mit Dr. Heiko Wegmann von freiburg-postkolonial.de Do, 22.07., 19 Uhr Kuratorenführung mit Heinrich Dietz Do, 05.08., 19 Uhr Öffentliche Führung mit Theresa Rößler
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posted 18. Jun 2021

Liverpool Biennial 2021

19. May 202127. Jun 2021
19 May - 27 June 2021 **Liverpool Biennial 2021** "The Stomach and the Port" (11.07.2020 - 25.10.2020) Liverpool Biennial is the UK biennial of contemporary art. Taking place every two years across the city in public spaces, galleries, museums and online, the Biennial commissions international artists to make and present work in the context of Liverpool. * Titled The Stomach and the Port, the 11th edition explores notions of the body. Drawing on non-Western ways of thinking, Liverpool Biennial 2020 challenges an understanding of the individual as a defined, self-sufficient entity. The body is instead seen as a fluid organism that is continuously shaped by and shaping its environment. A plethora of artistic practices inform this edition: many of the artworks include sound, shun direct representation, de-stabilise gender categories or look at intense forms of contact. The Stomach and the Port develops through three entry points—stomach, porosity and kin. The stomach is viewed as a primary organ engaging with the world. Porosity is embraced as a way of responding to borders or the strict contours of the skin. The notion of kin is revisited as a social tissue that prepares us for abundant futures. Liverpool, and its maritime history as a point of global contact and circulation, provides the perfect ecosystem to situate these enquiries. More than 50 international artists have been invited to respond to the theme within the context of the city: Larry Achiampong, Erick Beltrán, Diego Bianchi, Alice Channer, Judy Chicago, Ithell Colquhuon, Christopher Cozier, Yael Davids, Ines Doujak & John Barker, Dr. Lakra, Jadé Fadojutimi, Jes Fan, Lamin Fofana, Ebony G. Patterson, Sonia Gomes, Ane Graff, Ayesha Hameed, Camille Henrot, Nicholas Hlobo, Laura Huertas Millán, Sohrab Hura, Evan Ifekoya, Invernomuto & Jim C. Nedd, Rashid Johnson, KeKeÇa, Jutta Koether, Last Yearz Interesting Negro, Ligia Lewis, Linder, Luo Jr‐shin, Jorge Menna Barreto, Haroon Mirza, Neo Muyanga, Pedro Neves Marques, Roland Persson, Anu Põder, Reto Pulfer, André Romão, Kathleen Ryan, Zineb Sedira, Xaviera Simmons, Teresa Solar, Daniel Steegmann Mangrané, Jenna Sutela, UBERMORGEN & Leonardo Impett, Luisa Ungar, Alberta Whittle, Zheng Bo, David Zink Yi The artists in this edition share concerns with the definition, invention and circulation of bodies and their knowledges. They engage with histories of contamination and gather together ways of understanding our bodies as zones capable of expansion: where agency can be distributed amongst beings, ideas of representation are substituted by forms of embodiment, and concepts of kinship extend beyond everyday human experience towards a more inclusive society. The Biennial programme will be presented in locations across Liverpool, including public and unexpected spaces, historic sites and the city’s leading art venues: Bluecoat, FACT, Open Eye Gallery, Tate Liverpool and Victoria Gallery & Museum. New for 2020, Liverpool Biennial’s reach will also expand to the city’s historic Fabric District. A dynamic programme of free exhibitions, performances, screenings and fringe events will unfold over the 15 weeks, shining a light on the city’s vibrant cultural scene. * Liverpool Biennial is delighted to announce the appointment of Manuela Moscoso as Curator for Liverpool Biennial 2020, which will take place 11 July – 25 October 2020. Moscoso, who will co-curate the 11th edition with the Liverpool Biennial team, said: "I am thrilled to be moving to Liverpool to start working with the talented team on the next edition of the Biennial. It is a challenge and a great new context in which to set my mind, and my heart, at play." Sally Tallant, Director of Liverpool Biennial, said: “We are delighted that Manuela Moscoso will be joining us for 2020 and bringing her expertise to the team. I look forward to welcoming Manuela to the city and working with her together with our partners in Liverpool.” Manuela Moscoso, originally from Ecuador, is currently the Senior Curator at Tamayo Museo, Mexico City. She is part of Zarigüeya, a programme that activates relations between contemporary art and the pre-Columbian collection of the Museo de Arte Precolombino Casa del Alabado, Ecuador. Moscoso was the adjunct curator at the 12th Cuenca Biennial and the co-curator of the Queens International 2011 Biennial. In 2012 she was appointed co-director of Capacete, a residency programme based in Brazil where she also co-ran the curatorial programme, Typewriter. Moscoso has collaborated with CA2M, Di Tella, MAM Medellin, Museo de Rio, RedCat, Fundació Miró among other institutions. Her work and research focuses on artistic production that can articulate critical present endeavours, interrogating a linear history and univocal perspectives. Moscoso has a master’s degree from the Center for Curatorial Studies at Bard College and a Bachelor of Fine Arts from the Saint Martin’s School of Art and Design, London.

curator

Manuela Moscoso 
Liverpool Biennial

82 Wood Street
GB-L69 1XB Liverpool

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posted 17. Jun 2021

Sanford Biggers 'Contra/Diction'

23. Feb 202115. Aug 2021
Sanford Biggers 'Contra/Diction' Tuesday, Feb. 23-Sunday, Aug. 15 SCAD deFINE ART 2021 honoree Sanford Biggers’ solo exhibition at the Walter O. Evans Center for African American Studies functions as a selective survey, bringing together an array of works that spans the past 20 years of the artist’s prolific practice. Biggers’ work is conceived through a cleaving of references from myriad domains including European Modernism, Dada, abstraction, traditional African sculpture, Buddhism, and American history vis-à-vis The Underground Railroad and the Black Power movement, which all coalesce within the artist’s own intricate aesthetic imaginings. Beyond its compelling visual potency, Biggers’ work is a visceral experience that signals a clarion call for our need to actively combat the legally condoned racism that continues to threaten the lives of Black Americans. The artist’s creations are loaded with symbolic inferences steeped in sociopolitical information, although they remain at the will of his creative subjectivity. Biggers communicates feeling rather than a fidelity to history, combining a trove of narratives to form a vision of human experience. In conjunction with this comprehensive exhibition, the artist will give the deFINE ART 2021 keynote lecture. About the artist Sanford Biggers (b. 1970, Los Angeles) is the recipient of numerous awards and honors: in 2020 he was awarded a prestigious Guggenheim Fellowship, in 2019 he was inducted into the New York Foundation for the Arts Hall of Fame, in 2018 he received the American Academy of Arts and Letters Award, and in 2017 he was presented with the Rome Prize in Visual Arts. Biggers’ solo exhibition Codeswitch, which features more than 50 of the artist’s quilt-based works, is currently on view at the Bronx Museum of the Arts through January 2021 and will travel to the California African American Museum, Los Angeles, in March 2021 and the Contemporary Arts Center New Orleans in October 2021. Biggers has also presented solo exhibitions at the Contemporary Art Museum St. Louis, the Museum of Contemporary Art Detroit, the Massachusetts Museum of Contemporary Art, and the Brooklyn Museum, among others. His work has been shown in group exhibitions at the Menil Collection and Tate Modern, in addition to recent exhibitions at The Metropolitan Museum of Art and the Barnes Foundation. Biggers’ work is held in the permanent collections of The Museum of Modern Art, New York; The Metropolitan Museum of Art, New York; the Whitney Museum of American Art, New York; the Museum of Contemporary Art Chicago; the Walker Center, Minneapolis; the National Museum of African American History and Culture, Washington, D.C.; the Dallas Museum of Art; and the Legacy Museum, Montgomery, among others. He lives and works in New York. Contra/Diction is curated by Humberto Moro, adjunct curator, and Ariella Wolens, former assistant curator. It is presented as part of SCAD deFINE ART 2021, the university’s annual program of exhibitions, lectures, and performances, held virtually Feb. 23–25 with select events in Atlanta and Savannah, Ga.
SCAD Savannah / SCAD Atlanta

601 Turner Blvd
GA 31401 Savannah

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posted 16. Jun 2021

Aleana Egan: small field

08. May 202129. Aug 2021
bis 29. August 2021 **Aleana Egan: small field** (08.05.2021 – 20.06.2021) In small field entwirft Aleana Egan (*1979, Dublin, Irland) ein Setting aus abstrakten Skulpturen, die sich zu vielschichtigen Konstellationen zusammenfügen – Materialien wie Metalle, Holz, Pigmente und Stoffe verweisen auf ihre eigenen Eigenschaften und bleiben dennoch unkonkret: In ihrer Unbestimmtheit lösen die Objekte vielmehr immaterielle Momente aus – Ideen, Gedanken, Gefühle, Stimmungen, Energien und Beziehungen sowohl zueinander als auch zwischenmenschlich, die sich in Formen manifestieren und das Innere nach außen kehren. Latente Anspielungen werden in bildhauerische Gesten übersetzt sichtbar und rücken das Prozesshafte ins Zentrum. Die Ausstellungssituation ist ein Feld, das sich öffnet und in Bewegung bleibt. small field wird über die gesamte Laufzeit von Beiträgen in Form von Postern begleitet und eröffnet so zusätzlich ein dialogisches Feld. Die Reihe Affiche greift das Tentative in den Skulpturen auf und erweitert den physischen Ausstellungsraum, indem sie sich in den öffentlichen Raum ausdehnt. Affiche mit Posterbeiträgen von Mihaela Chiriac, Sofia Duchovny, Hella Gerlach, Manuela Leinhoß, Vera Palme, Kirsten Pieroth und Nora Schultz. Zu der Ausstellung erscheint eine Publikation beim Bierke Verlag. Kuratiert von Melissa Canbaz * Aufgrund der Bundesnotbremse bleibt die Ausstellung vorerst geschlossen. Für aktuelle Informationen zu den Öffnungszeiten besuchen Sie bitte unsere Website oder schreiben Sie uns unter galerie@kuenstlerhausbremen.de. Wir hoffen Sie bald wieder begrüßen zu dürfen! * Ausstellungsrundgang (online) Mittwoch, 12. Mai, 19 Uhr Im Rahmen der Cultúr Salon-Reihe der irischen Botschaft in Berlin führen die irische Künstlerin Aleana Egan und die Kuratorin Melissa Canbaz durch die aktuelle Ausstelllung small field. Bitte registrieren Sie sich im voraus hier. Die Teilnahme ist kostenlos!

curator

Melissa Canbaz 
Künstlerhaus Bremen

KÜNSTLERHAUS BREMEN | Am Deich 68/69
28199 Bremen

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posted 15. Jun 2021

REBEL REVOLUTION RHINELAND - Duchow, Kohlhöfer, Polke, Schulze

29. Apr 202126. Jun 2021
29.04.2021 – 26.06.2021 **REBEL REVOLUTION RHINELAND - Duchow, Kohlhöfer, Polke, Schulze**
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posted 14. Jun 2021

Federico Herrero. Night Blue

29. May 202119. Jun 2021
Federico Herrero. Night Blue 29.05.2021 - 19.06.2021 Interview - May 2021 **What can you tell us about your new series of paintings?** For me personally these paintings have a special relationship to their tools – so basically of line and form. Before, the color would create the form. The colors would grow until they create forms that would interrelate. Now the form is more related to the line and to the question of how they overlap. So, in a way, these works are more related to my site-specific works: There is a certain looseness between the forms, a kind of blurriness of the limits that is gradually happening. **Which might be a reason that they seem so playful.** Yes, there is a lot of movement in the work. I have always been interested in that because it connects to urban spaces, to the city as an organism. And there is always some sort of internal movement – a certain musicality, if you will. **There are also these little cartoon-like figures…** Those elements create a moment of narrative in paintings that sort of seem like landscapes. They are open to interpretation, in between forms of humans and plants. They kind of populate the spaces they are in. **You are talking about landscape, even though your works don’t have a landscape format.** That is true. There is this notion similar to Etel Adnan who speaks of the landscape as poetry. For me, there is some sense of that in my work. Even if the forms are not building up into a horizon, I still see a landscape in them. As I spent so much time at home last year, I was looking a lot at my garden. Before, I was travelling a lot, so the floating forms in my paintings related to this feeling of living on the move. But now I was very much going inwards, building up a relationship to my house and my garden, which for me is actually a piece of work that is constantly growing. It has its own timing, colors and forms are changing all the time. So, I guess what I’m trying to say is that landscape is a very broad idea. **In fact, nature offers all sorts of abstractions as well as figurative elements – a variety which plays a crucial role in your work: Sometimes it’s just shapes that leave more space for interpretation, sometimes these shapes build an actual figure or a setting in nature.** Yes, and there is also something about the constant possibility of change, and also about a slowness of this change, which is the case in plants. Here in Costa Rica, we only have two seasons, the dry and the rainy one. The plants go up and then they go down a bit and then up again, which is kind of like breathing. That aspect of a landscape that translates into certain vibrations and temporalities has a beauty which I like a lot. This feeling of a place, of a natural circle that stands still and is still moving and growing, started to feed the work very directly. **Standing still can also create more inner space and make room for fantasy.** Definitely. I really enjoyed the stillness of last year, as I suppose many artists did. It gave me space and silence and a more serene approach to the work. And I guess it gave me time to think how to incorporate the technique of my site-specific work into my studio practice. **And stillness doesn’t mean dullness. There is a large mixture of ideas and motifs in your new works. It almost feels like they don’t belong to the same series but come from different times.** Exactly! I would say they express some sort of confusion. I was not trying to create something that made complete sense. It was important to let go of the group of works that were more linear. There was something about creating paintings of different directionalities in order to calibrate your perception. The work with the blue background and the small black-and-white circles does exactly that. In a way it could be seen as a pop art piece but it also relates to the rest of the works by bringing your eyes to the point… to a certain tension and visual focus to then release it again. Also, there is some calibration of movement, atmosphere and psychology of the entire show. I was very open to allowing a bit of confusion, not having a unity. In a sense, this represents just different aspects of something that has always been present in my work. Which is why it is so important to understand that these works are all interconnected. I see them as a language in itself – the paintings are having some sort of a conversation amongst each other. **So how did you discover that painting is your language?** I saw these amazing books about modernism at my grandmother’s house – that’s the magic of books, especially living in a small country. Perhaps I felt a sense of refuge and belonging, especially not fitting very well into society. So, it seemed very natural to start painting myself, and I just never stopped. My first impression was Roberto Matta, whom I understood as an Abstract Expressionist, even though he belonged to the Surrealist movement. I also felt connected to the late Matisse, and then also to Raoul de Keyser, Etel Adnan, and Amy Sillman. They all deal with abstraction as well as with landscape, and their forms and colors transform into poetry. And at the same time, they have a very straightforward relationship with the tools of painting. So does Hélio Oiticica who is also very important for me. **Something which sticks out in your work is the absolute brightness of colors. They shine really intensely, there is not a single dark work.** There must be something about the light – it is very intrinsic to me. I made an effort to make works that are less bright but in the end they never were. I have learned to let go of trying to make sense out of it. I’m very intuitive in the way I work. I always let intuition take over in order to give some balance to the mental part. **The way you deal with colors offers a link to classic modernism – an easiness and clarity that stands for a utopia that in the end was never fulfilled. You don’t find this hopeful approach in traditional painting.** And at the same time, modernism can be a trap. For example, South America has a hard time escaping the tradition of geometric modernism, anything out of this idea was considered not serious enough which conveys quite a rigid idea. But I can’t stop looking at nature here. Nature is what we have. I couldn’t create a geometric abstraction out of plants. The energy coming out of biometric forms, as I find them here in Costa Rica between the two oceans and the sky, are much more interesting to me than any rigid pattern. * Federico Herrero is a Costa Rica-based artist whose practice encompasses painting on canvas, public wall-painting and sculptural installations.
Sies + Höke, Düsseldorf

Poststr. 2 / Poststr. 3
40213 Dusseldorf

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posted 13. Jun 2021

Artes Mundi 9

15. Mar 202105. Sep 2021
Artes Mundi 9 March 15 - September 5, 2021 Digital exhibition via website  www.artesmundi.org National Museum Cardiff Cathays Park Cardiff, CF10 3NP United Kingdom  Chapter Market Rd Cardiff, CF5 1QE  United Kingdom  Firelei Báez (Dominican Republic) / Dineo Seshee Bopape (South Africa) / Meiro Koizumi (Japan) / Beatriz Santiago Muñoz (Puerto Rico) / Prabhakar Pachpute (India) / Carrie Mae Weems (USA) Due to the ongoing challenges wrought by COVID-19, the UK’s largest international contemporary art prize Artes Mundi 9 will now open virtually on Monday, March 15, 2021. Audiences will be able to explore the exhibition initially through guided video walkthroughs of each artist’s presentation and still photographic documentation within gallery settings. Although an opening date remains unknown currently and subject to many external circumstances, the Artes Mundi 9 Prize winner announcement will take place digitally on Thursday, April 15, 2021. The biennial exhibition will open to the public when Wales returns to Tier 2 restrictions and in-person visits are possible but online visitors will first have the opportunity to view the global premiere of major new works by many of the shortlisted artists. American artist Carrie Mae Weems, celebrated for her powerful engagement with Black and female representation, encompasses cultural identity, racism, class, political systems and the consequences of power. A new photographic installation, The Push, The Call, The Scream, The Dream reflects on the late civil rights activist John Robert Lewis within the context of the present, while a selection of large-scale pieces from her recent public art campaign interrogates the disproportionate impact of the pandemic on communities of colour while offering messages of hope.  A new 16mm film, About Falling by Puerto Rican artist Beatriz Santiago Muñoz forms part of a film and video presentation that poetically creates a layered installation of non-linear narratives considering the histories and continuing presence of various colonisers on Puerto Rico, its landscape, people and culture. Dominican Republic-born and New York-based artist Firelei Báez, has produced four major new large-scale paintings celebrating Diasporic narrative and black female subjectivity, while South African artist Dineo Seshee Bopape materially and conceptually engages with place, history, and the consequences of the trans-Atlantic slave-trade through objects, drawing and song, presenting art as embodying the potential for acknowledgement and reconciliation.  Japanese artist Meiro Koizumi’s haunting video triptych The Angels of Testimony tackles the legacy of the Second Sino-Japanese War (1937-1945), dismantling cultural taboos by acknowledging shameful histories. Prabhakar Pachpute—whose family worked in the coal mines of central India for three generations—draws on shared cultural heritage with the Welsh mining community to create an installation of new paintings and canvas banners that harness the iconography of protest and collective action. As part of Artes Mundi’s new digital offering, a robust public programme will launch online alongside the exhibition, structured as a series of talks, podcasts, live streamed events and downloadable activities.   Hosted on Zoom and presented in partnership with Cardiff Metropolitan University, the At the table … talks will be free to all with the first launching on Thursday 11 March at 8pm GMT featuring shortlisted artist Firelei Báez in conversation with Artes Mundi 9 juror Rachel Kent, Chief Curator of the Museum of Contemporary Art Australia, Dr Francesca Sobande, lecturer of Digital Media Studies at University of Cardiff and Trinidad-born, Cardiff-based artist and researcher Dr Adéọlá Dewis. The live talks will subsequently be made available as podcasts via the Artes Mundi website.  
Artes Mundi, Cardiff

National Museum Cardiff | Cathays Park
CF10 3NP Cardiff

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posted 12. Jun 2021

MYTHOLOGISTS

17. Jan 202119. Dec 2021
**17. JANUAR 2021 – 19. DEZEMBER 2021** **MYTHOLOGISTS** JSC ON VIEW. WORKS FROM THE JULIA STOSCHEK COLLECTION Die dritte Ausgabe von JSC ON VIEW präsentiert Video- und Soundinstallationen von zwölf Künstlerinnen der JULIA STOSCHEK COLLECTION. Einige davon sind erstmalig in der JSC Düsseldorf zu sehen. JSC ON VIEW: MYTHOLOGISTS wird kuratiert von Rachel Vera Steinberg, Stipendiatin des JSC Curatorial & Research Residency Programs (CRRP) 2019–2020. Was wir als Wahrheit begreifen, vermittelt sich in hohem Maße durch Bewegtbilder. Dies macht sie zu einem Instrument der Macht. Vor diesem Hintergrund zeigt die Ausstellung, dass zeitbasierte Medien im Stande sind, politische Ideologien mit dem Verlangen zu verknüpfen, sich eine eigene private Welt zu erschaffen. Die Arbeiten bedienen sich unterschiedlicher kultureller Narrative und vermitteln einen Eindruck davon, in welchem Sinn sie ein Inkubator für soziale Mythologien sein können. Traditionelle Mythen sind Geschichten über Gottheiten, die Schöpfung und das Heilige, die sich durch ihre weite Verbreitung sowie ihr ambivalentes Verhältnis zur Wahrheit auszeichnen. Gleichzeitig unterhalten und erziehen sie das Publikum, indem sie einfache Charaktere zu Archetypen stilisieren. In JSC ON VIEW: MYTHOLOGISTS wird das Spannungsfeld zwischen Fakten und Fiktionen in den Blick genommen, das durch persönliche sowie kollektive Narrative hervorgebracht wird. Die in der Ausstellung vertretenen Arbeiten interpretieren Mythologien neu, konterkarieren etablierte Verhaltensmuster und imaginieren darüber hinaus außergewöhnliche visuelle und akustische Welten. Allen Arbeiten ist gemein, dass sie die Grenzen zwischen Mythos, Fakt und Fantasie – mal bewusst, mal unbewusst – verschwimmen lassen. Durch alltägliche Handlungen des Spielens, des Übertreibens, des Performens werden folgende Fragen aufgeworfen: Wenn wir noch auf etwas vertrauen könnten, worauf wäre das? Wie wird in diesen Geschichten Bedeutung generiert? Von wem werden solche Mythen heute erschaffen? Und welchen Narrativen wird man auch in Zukunft noch Glauben schenken? Wu Tsangs Videoarbeit Wildness (2012) und Mark Leckeys Videoarbeiten Fiorucci Made Me Hardcore (1999) und Parade (2003) drücken den Wunsch nach einem Zugehörigkeitsgefühl innerhalb kultureller Bewegungen und Szenen aus. Die Arbeiten dokumentieren unterschiedliche Subkulturen und beleuchten die kollektiven Phantasien, die in diesen Kontexten als verbindende Elemente fungieren. Mike Kelleys jahrzehntelanges Projekt Extracurricular Activity Projective Reconstruction #36 (Vice Anglais) (2011) unterwandert popkulturelle amerikanische Medientropen durch albtraumhafte Performances, in denen kulturelle Archetypen auf verstörende Weise miteinander interagieren. Sowohl die Guerrilla Girls als auch Natascha Sadr Haghighian greifen in ihren jeweiligen Arbeiten bestimmte Kunstwelt-Mythen auf, indem sie ihre persönlichen Narrative und ihre Identitäten fiktionalisieren. Klara Lidén setzt ihren ambivalent gegenderten, weißen Körper in ihren Videoarbeiten Paralyzed (2003) und Grounding (2018) als Mittel ein, um traditionelle Genderrollen in Frage zu stellen. Lina Lapelytės Hunky Bluff Act 1–6 (2015) und Jamie Crewes Pastoral Drama (2018) adaptieren Mythologien und Opernarien, um kulturelle Narrative und Gendernormen aufzubrechen. Ähnlich verhält es sich mit Mika Rottenbergs Chasing Waterfalls. Ihre Videoarbeit The Rise and Fall of the Amazing Seven Sutherland Sisters (2006) sowie WangShuis From Its Mouth Came a River of High-End Residential Appliances (2018) nutzen Fabeln, Werbeformate und zeitgenössische Architektur, um Fragen zur Konstruktion von Identität aufzuwerfen. Laure Prouvosts Videoarbeit They Parlaient Idéale (2019), die für den französischen Pavillon auf der 58. Biennale in Venedig entstand, etabliert eine eigene Mythologie, indem die Künstlerin Sprache, Bild und Bewegung miteinander verschränkt. Jacolby Satterwhites opulente digitale Tableaus geben Einblick in utopische Science-Fiction-Welten, die neuartige Beziehungen und Hierarchien generieren. Text: Rachel Vera Steinberg
JULIA STOSCHEK COLLECTION DÜSSELDORF

JULIA STOSCHEK COLLECTION | Schanzenstraße 54
40549 Dusseldorf

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posted 11. Jun 2021

Katharina Grosse: Chill Seeping from the Walls Gets between Us

08. Jun 202123. Jan 2022
HAM. 08.06.2021-23.01.2022 **Katharina Grosse: Chill Seeping from the Walls Gets between Us** German artist Katharina Grosse has become internationally known for her large on-site paintings, which she sprays across objects, architectural structures and landscapes. In her first solo exhibition in Finland, Grosse will be taking over both of the arched halls on the upper floor of HAM. On display will be two new pieces for which the artists will transform the exhibition spaces into massive, all-encompassing spatial works of art. Grosse will be painting one of the two pieces on-site, using the bright and vibrant colours characteristic of her art. Defying the conventions of two-dimensionality, Grosse’s paintings can be considered a form of intervention, painting as she does over architecture and surfaces while paying no heed to boundaries, or as a membrane between different realities. Grosse paints on all conceivable media, both indoors and out. An industrial spray gun provides the artist with the reach necessary to create her massive pieces. Grosse’s rapid way of working allows her to seamlessly translate thought into action. She uses acrylic paints and ready-made industrial colours that are only mixed to form new tones upon reaching the surface being painted. The finished paintings reflect the artist’s train of thought and movement within the space. HAM’s southern hall is filled by a three-dimensional painting based on over a thousand metres of cloth tied into knots. The mountain of cloth falling into folds from the ceiling and spreading across the floor was painted by the artist on-site. The dozens of over- and interlapping tones form a vast painting that visitors can step into. With each step, the piece shows a different side of itself. The physical experience of the painting is affected by the observer’s own movement, changes in perspective and the presence of other people in the same space. Occupying HAM’s northern hall, her second piece consists of a labyrinthine assembly of thin, silky fabrics hung from the ceiling and reaching all the way to the floor. Printed on the fabrics are photographs the artist took in her studios and her previous installations. The photographs show what is left behind by the painting process on walls or floors. They show paintings in the making and finished ones, adapted in scale to the galleries. They revisit the notions of invisible space, absent space and folded matter. The art and artist are gone, yet their presence lingers. The printed photographs move the originally spatial and temporary act of painting and its residue into a new space, where the colours shine as real. The fabric prints have been previously seen as part of exhibitions in Stockholm and Shanghai, among other places. However, the work to be displayed at HAM is unique in scope and represents a new branch in Grosse’s output exploring the “potentiality of painting.” The Chill Seeping from the Walls Gets between Us exhibition is curated by Head of Exhibitions Pirkko Siitari and Curator Sanna Tuulikangas from HAM. HAM will also be publishing an accompanying book with the same title to coincide with the exhibition. Katharina Grosse is also one of the featured artists of the Helsinki Biennial opening in summer 2021.
HAM Helsinki Art Museum

Eteläinen Rautatiekatu 8
00100 Helsinki

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posted 10. Jun 2021

Carlos Garaicoa 'A City View from the Table of My House'

31. Dec 202003. Jul 2021
SCAD Museum of Art, Savannah Carlos Garaicoa 'A City View from the Table of My House' Dec. 31, 2020 - July 3, 2021 Based in Madrid and Havana, Carlos Garaicoa originally trained in thermodynamics and later in painting, lending him a unique perspective on the relationship of social and historical structures to architecture and urbanism. Throughout his prolific artistic career he has poignantly signaled the ways in which more abstract phenomena like power and entropy affect the tangible universe like cities. For his solo exhibition A City View from the Table of My House, Garaicoa will present a very particular retrospective exercise, which studies the format of the table as one of the most fertile substrates for his artistic production. In the artist’s words, “the table has functioned as a support and as a geography, and also as an essential element of our domesticity, as a microworld and a territory abstracted from reality to deposit dissimilar stories that try to define the existence and durability of our lives, immersed in the cities and spaces we inhabit.” The works presented in the exhibition, which range from 1998 to the present, introduce a plethora of other media that the artist has employed — paper, thread, glass, wax, metal, and video — that serve as metaphors for the diversity and flexibility of urban space, as well as the dangers of it. While some of the tables present factual representations of cities, others operate at symbolic or conceptual levels. Garaicoa considers not only the formal aspects of space, like volume, density, or shape, but also the immaterial, political, and historical bonds that constitute the notion of a city — even when they are problematic. A City View from the Table of My House is a unique opportunity to study one of the most fascinating artists from Latin America who brings a powerful, holistic reflection on the fragility and beauty of the spaces in which we coexist. About the artist Carlos Garaicoa (b. 1967, Havana) has presented recent solo exhibitions at Lunds Konsthall and Skissernass Museum, Lund, Scania, Sweden; Parasol Unit Foundation, London; Fondazione Merz, Turin, Italy; MAAT, Lisbon; Azkuna Zentroa, Bilbao, Spain; Museum Villa Stuck, Munich; and Nasjonalmuseet, Oslo, among many others. Garaicoa has also participated in prestigious international events, including the Biennials of Havana, Shanghai, São Paulo, Venice, Johannesburg, Liverpool, and Moscow; the Triennials of Auckland, San Juan, Yokohama, and Echigo-Tsumari; Documenta 11 and 14; and PhotoEspaña 12. In 2005 he received the XXXIX International Contemporary Art Prize — Foundation Prince Pierre de Monaco and the Katherine S. Marmor Award. He lives and works in Madrid and Havana.
SCAD Savannah / SCAD Atlanta

601 Turner Blvd
GA 31401 Savannah

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posted 09. Jun 2021

Glasgow international 2021

11. Jun 202127. Jun 2021
Glasgow international 2021 Scotland’s biennial festival of contemporary visual art Fri 11 - Sun 27 June 2021 Glasgow International (GI) has announced details of its ninth edition. Originally scheduled to open in April 2020, the festival will now take on a hybrid format comprising 38 exhibitions in 27 physical venues across the city, as well as a comprehensive online programme of exhibitions, podcasts, films, streamed talks and events. The festival’s theme is “attention”: a topic that has shifted in emphasis over the past year, and the significance of which has, in many respects, become amplified. For further introduction, click here. Visitors will encounter a Commissioned Programme of exhibitions taking place in many of the city’s most well-known venues. Alongside this runs the Across the City Programme, selected from proposals by artists, curators and producers who live and work in Glasgow. Commissioned Programme highlights include: New works and commissions by Jenkin van Zyl, Yuko Mohri, Ana Mazzei, Sarah Forrest, Nep Sidhu, and France-Lise McGurn. A Glasgow International and Tramway co-commission, a new episode in Martine Syms’ ongoing video installation project SHE MAD (2015–), incorporating elements of the sitcom format and past TV series to explore “the sign of blackness in the public imagination.” One of the most in-depth presentations to date of work by the late Scottish painter Carol Rhodes (b. Edinburgh, 1959; d. Glasgow, 2018), whose drawings, paintings and reference materials, many previously unseen, will be displayed at Kelvingrove. A new film by Alberta Whittle, co-commissioned with Glasgow Sculpture Studios, which explores the colonial history of the Forth & Clyde canal and the role of waterways in the voluntary and involuntary movement of people. June 11–14. A major new film commission by Georgina Starr, Quarantaine, continues Starr’s preoccupation with the otherworldly and the occult, as well as her longstanding interests in the visionary aspects of experimental cinema. The work is co-commissioned by Film and Video Umbrella, the Hunterian and Leeds Art Gallery, with Art Fund support. American artist Gretchen Bender’s Total Recall (1987) presented in Scotland for the first time. The 11-channel video installation, which predicted the “image saturation” of the coming decades, utilises 24 monitors and three projection screens. Duncan Campbell’s new work, presented at Barrowland Ballroom, marks the culmination of years of research and involves a new approach to time-based work, encompassing animation, audio and sculpture. GI and the Roberts Institute of Art co-present a hybrid programme of live and digital events including performance work by Paul Maheke, Nina Beier and Lina Lapelytė. Across the City programme highlights include: New work by photographer, media artist and researcher Ingrid Pollard at Glasgow Women’s Library, developed in response to its Lesbian Archive and Information Centre, the largest in the UK. Tobacco Flower, a major body of new work by Jimmy Robert made especially for GI, which explores multiple traces left by Glasgow’s role within colonialism and engages directly with The Hunterian and its historical collections. The first solo presentation in Scotland by the late Donald Rodney, whose work examines and critiques racialised identity and its socio-political consequences, at artist-run space Celine Gallery. Many others including Soufiane Ababri at Studio Pavilion; Laura Aldridge at Kendall Koppe; Rabiya Choudhry, Raisa Kabir, Jasleen Kaur and Rae-Yen Song at The Deep End; Jacqueline Donachie at Govan Project Space; Sam Durant, presented by The Common Guild; Graham Fagen at Queens Park Railway Club; Luke Fowler and Eva Rothschild at The Modern Institute; Margaret Salmon at Chapter 13/The Pearce Institute. The Digital Programme includes a newly commissioned film with Anne-Marie Copestake involving artists from across the programme in dialogue.
Glasgow International

Trongate 103
G1 5HD Glasgow

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posted 08. Jun 2021

Allora & Calzadilla: Specters of Noon

26. Sep 202020. Jun 2021
Allora & Calzadilla: Specters of Noon Sep 26, 2020 – Jun 20, 2021 Early Christian texts describe acedia as a demon that besieges the soul at noon, when the day listlessly drags and delirious visions momentarily reign in the blinding light. Seven sculptural works by the artists Allora & Calzadilla in the exhibition Allora & Calzadilla: Specters of Noon revolve around this concept, serving as a manifestation of noon’s hold over humankind and as a metaphor for the uncertainties defining our time. Created specifically for the Menil Collection’s main building, the works use sounds, cast shadows, and novel sculptural materials to evoke an awe-inducing atmosphere of bewilderment and beauty. According to the artists: “In the fourth century, Evagrius Ponticus, in laying out the seven deadly sins, described the ‘most oppressive’ of all temptations as acedia, a spiritual dryness and lack of care towards the world that plagues during the hot midday hours and is characterized by a feeling of psychic exhaustion and listlessness. Writing under the harsh conditions of the desert, he personified this terrible mood as the workings of the ‘noonday demon’ or “Meridian Demon,” who ‘makes the sun appear sluggish and immobile as if the day had fifty hours.’ This affliction in many ways seems to summarize the contemporary moment in which one finds oneself feeling supremely awake, animated, immersed in very strong sensations and feelings, but not alive. Acedia makes the present intolerable and the future impossible to imagine.” The Puerto Rico-based artists visited the Menil Collection repeatedly over the course of four years to develop this exhibition, and studied the museum’s renowned archives and holdings of Surrealist works of art. They explored the historic role that Surrealism played in the Caribbean in the years surrounding World War II, including its pivotal role in anti-colonialism, and the movement’s fascination with the importance of noon. Jennifer Allora and Guillermo Calzadilla extended their research by connecting this history to the current moment by seeking out shared connections between Houston and their home of San Juan, both port cities that have been deeply impacted by energy commerce and the effects of a changing climate. Among the works on view is Entelechy, 2020, a monumental coal sculpture cast from a tree struck by lightning. The artists sourced a tree species found in the forest of Montignac, France, where, in 1940 during World War II, a group of teenagers came across a massive tree uprooted during a storm. A shaft of light piercing the hole in the ground revealed the now-famous Lascaux Cave, an underground cavern with hundreds of prehistoric wall drawings. Allora & Calzadilla were inspired by theorist and Surrealist author Georges Bataille’s account of the discovery. He described the cave as a place of profound wonder and identified it with the birth of art and by extension, a new conception of prehistory and human history. Another work in the installation is Blackout, 2020, created from a Puerto Rico Electric Power Authority transformer that exploded during Hurricane Maria in 2017. The artists bisected the transformer’s steel exterior to expose its interior workings, which they cast in bronze. The shiny metallic conductive wire, radiator pipes, and insulators are juxtaposed with the matte exterior casing, creating a sculptural division that references the exhibition’s theme of solar noon, when the sun, at its zenith, cuts the day in half. Award-winning composer David Lang worked closely with the artists, while in residence at the Menil, to develop an eight-hour cycle of constantly evolving sounds that runs daily in the exhibition. A combination of instrumental, vocal, and electrical recordings, the sounds respond to and activate the works of art on view. At the conclusion of the exhibition vocalists will perform on Entelechy. The score, composed by David Lang, references the only image of a human figure found in the cave, that of a hybrid of a bird and a man. The deep hum of reverberating electricity buried in the relic of Blackout will also serve as a tuning device for a live vocal performance, composed by Lang, which is inspired by the sounds of electricity and a volatile power grid. Allora & Calzadilla: Specters of Noon is curated by Michelle White, Senior Curator. Major funding for this exhibition is provided by The Diane and Bruce Halle Foundation; Brad and Leslie Bucher; Cecily E. Horton; the Susan Vaughan Foundation; Hilda and Greg Curran; Linda and George Kelly; and Lea Weingarten. Additional support comes from Cindy and David Fitch; Jereann and Holland Chaney; Leslie and Shannon Sasser; Mary and Bernard Arocha; Clare Casademont and Michael Metz; Barbara and Michael Gamson; Janet and Paul Hobby; Caroline Huber; Marcy Ellen Taub; Michael Zilkha; and the City of Houston through the Houston Arts Alliance.

curator

Michelle White 
Menil Collection, Houston

Sul Ross 1509
77006 Houston

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posted 07. Jun 2021

MONICA BONVICINI - No Rest

24. Apr 202113. Jun 2021
RÄMISTRASSE * MONICA BONVICINI - No Rest April 24 - June 13, 2021 Galerie Peter Kilchmann is pleased to announce the solo exhibition "No Rest" by Monica Bonvicini in our dependance in the Rämistrasse 33. The exhibition will present new and existing works in a wide range of media, including sculpture, photography, works on paper and installations. Reacting to the intimate character of the new gallery space, the show plays with elements of design. Within it, recurring motifs and details from the artist's work raise complex issues of power and equality, allowing poetry and gender to merge with domestic objects, and thus penetrate the private space. The size of the new gallery in a town house of the 19th century is similar to a home, and when entering such a domestic environment there is a touch of dwelling in the air. Where function has informed space, traces have been left behind – adding a shy sense of private habitat, weaving with a pre-existent narrative into the very floorplan of the house. We read the rooms while we walk, with glossy mirror panels reflecting phrases and quilted carpets contrasting the intimacy of worn clothes with a stylised conception of private space. In one room, lounge chairs wear leather aprons, seemingly waiting to serve. Coffee tables are buckled up with prints of leather belts. But it is not a sentimental home. The exhibition hands to you a subversive instruction manual and it is up to you to figure out if a revolution might be in your grasp. Bonvicini’s gaze is one of inquiry - a reminder to the visitor how binary gender roles, patriarchal institutions, class distinctions and capitalist mantras could be deconstructed with rigour, passion, and not at least, humour. It is a reversal of prevailing power relations and conventional representations, shifted into polyphonic objects and images. Everything can be potentially disposed, and the view is oriented to the gaps, and in between the breakage of what was intended to be protective and upholding. Here Bonvicini takes us towards the edge. Throughout her oeuvre, Bonvicini brings the audience towards this brink, yet it is never a dead end. The perspective is consistently at an angle and with a pinch of ironic salt. Humour jumps in to overwrite the social and political rules of a game that consists of complex interactions transforming the relationship between public and private. While not shying away from being aggressive and forthright, Bonvicini adds a sensitive note to the radical gesture. It is a visual play of words and it is ruthless inside. Stereotyped, embattled, and obsessively inquired images of domination and competition are marked down for demolition, literally. On the ground floor the artist presents a new wallpaper work, where black and white geometric pattern covers the walls of the gallery. It creates a rhythmical ornament reminiscent of a musical score or 1970s interior design. On closer inspection it reveals itself to be an arrangement of different constructional elements, ranging from chains to metal rings and quick chain fasteners. The title of the work "The Yellow Wallpaper" refers to the eponymous short story by Charlotte Perkins Gilman. Published in 1892, it is an early work of American feminist literature, and tells the story of a woman imprisoned in the bedroom by her husband, wherein the mysterious moving wallpaper becomes a symbol of her entrapment. In the exhibition the wallpaper utilizes this function to reflect on the relationship of private and public, inside and outside, as well as the visitor and the space. The light sculpture "Bent on Going" (2019) is installed in the basement. Drawing aesthetically from Bonvicini’s series of artworks that feature bundles of LED neon light tubes, it is a raffinate example of how the artist uses industrial products that become literally fused with artisan inventiveness. In the work the tubes are woven together by hand using electrical cables, as a chain link way reminiscent of a Keeffiyeh. The 200 lights are caught in a moment of movement, rolling out of order while blinding with an exaggerated light. The upper levels of the gallery are opened up with a display of two floor pieces, titled "Breach of Decor (light blue)" and "Breach of Decor (red pepper)" (2020). Each carpet measures 120 x 180 cm and is printed in four squares, featuring pairs of pants carelessly thrown on a variety of floors. The crumpled clothes evoke the feeling of undressing hastily, maybe out of sexual desire or from exhaustion of returning home and going to bed. As a title, "Breach of Decor" refers to a quote by Andy Warhol, when he once visited architect Philip Johnson’s New York City apartment and noticed a pair of underwear on a chair. He perceived it as a breach of decorum in an otherwise pristine setting, begging the question, can privacy be an imposition? On the walls there are also a number of drawings which interact with the domesticity of the artworks throughout the space. One drawing from 2020, depicted in bright pink with coral spray paint and tempera on archival paper, features a quote from the aforementioned Philip Johnson, describing a lover. UNFAILINGLY AFFECTIONATE. COMFORTABLY PASSIVE. FOREVER APPRECIATIVE. OF HIS LOVER MATERIAL GENEROSITY. In the other two drawings quotations by Natalie Diaz and Roland Barthes are poetically elaborated upon. It is a play on the ambiguity of human relations and the normative imprint of social class, shifting the print from a reflection material to material statement. It is an idea becoming an object, whereby breaking up words and cutting quotes, the words cease to be references. The reversal of order allows them to attain a new, poetical twist, inviting the gaze while also distracting it. In the exhibition "No Rest", the object stares back. Moving into the room on the left, this investigation of the interior and the private is further explored in a selection of framed photographs from the series "No Rest" (2021) (see invitation card) as well as the glass sculpture "Up in Arms" (2021). In the third and last exhibition space a humid sultriness is hovering. The installation "Bonded Eternmale" (2002/ 2021) suggests the masculine interior of a gentlemen’s room. Two Willy Guhl Eternit Loop chairs are seated at the end of the room covered in black leather with rivets creating an ornament where one should sit. These apron-like covers evoke the aesthetic of BDSM, which carries through in the new production of side tables "Low as Top" (2021). It presents a minimalist design, where a graphic of black woven belts is printed on the glass. In response to the masculine play of the furniture, the work "40% Pure" (2000/ 2021) steams the air with the scent of whiskey. It features a humidifier which consolidates the space with the smell of liquor and the nostalgia of spaces exclusive to men – from members clubs to boardrooms – in a subversive and humorous way. Monica Bonvicini is the recipient of prominent international art prizes. Among them are the Golden Lion from the Venice Biennale (1999), the Nationalgalerie Berlin prize (2005), and more recently the Oskar Kokoschka Prize (2020). Currently she has exhibitions at the Kunsthalle Bielefeld, "LOVER’S MATERIAL", on show until May 30, 2021; "Fuori" at the Quadriennale di Roma, through May 2, 2021; "Wände / Walls" at Kunstmuseum Stuttgart until May 30 2021; "Looking at the Midnight Sun" at Lenbachhaus München, until August 1, 2021; "A Fire in My Belly" at Julia Stoschek Collection, Berlin, until December 12, 2021; "Io Dici Io" at the Galleria Nazionale Roma until May 23, 2021; and "Fort! Da!“ at the Lentos Kunstmuseum Linz, until August 22, 2021. Bonvicini‘s new publication "HOT LIKE HELL" will be available in the gallery. Past solo exhibitions and participation in biennials include: Busan Biennale (2020); Belvedere 21, Vienna (2019); OGR (Officine Grandi Riparazioni), Turin (2019); Berlinische Galerie, Berlin (2017); 15th Istanbul Biennial (2017); BALTIC Center for Contemporary Art, Gateshead (2016); the Biennale di Venezia (2015, 2011, 2005 and 1999); Berlin Biennale (2014, 2003, 1998); Kunsthalle, Mainz with Sterling Ruby (2013); Deichtorhallen, Hamburg (2012); CAC, Malaga (2011), and many more. The Kunst Museum Winterthur is planning a major retrospective for autumn 2022. Press release with texts by Mareike Dittmer, Director of Public Engagement at Thyssen-Bornemisza Art Contemporary Foundation * During ZURICH ART JUNE, the gallery will be open from Friday to Sunday, June 11 - 13 from 11am to 7pm.
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posted 06. Jun 2021

Cézanne Drawing

06. Jun 202125. Sep 2021
Cézanne Drawing June 06, 2021 – September 25, 2021 The Museum of Modern Art will present a major exhibition offering a new look at the celebrated modern artist Paul Cézanne (1839–1906) through close attention to his process in pencil and watercolor and fresh insights into this profoundly original yet lesser-known body of work. Cézanne Drawing will be the first major effort in the United States to unite drawings from across the artist’s entire career, tracing the development of his practice on paper and exploring his working methods. More than 200 works on paper—including drawings, sketchbooks, and rarely seen watercolors—will be shown alongside a selection of related oil paintings, drawn from MoMA’s collection as well as public and private collections from around the world. Presented together, these works will reveal how this fundamental figure of modern art—more often recognized as a painter—produced his most radical works on paper. Organized by Jodi Hauptman, Senior Curator, and Samantha Friedman, Associate Curator, with Kiko Aebi, Curatorial Assistant, Department of Drawings and Prints. Laura Neufeld, Associate Conservator, David Booth Department of Conservation, is a key collaborator, part of the project’s curatorial-conservation partnership. Leadership support for the exhibition is provided by The International Council of The Museum of Modern Art, Ronald S. and Jo Carole Lauder, the Kate W. Cassidy Foundation, and Monique M. Schoen Warshaw. Generous funding is provided by the Eyal and Marilyn Ofer Family Foundation, the Robert Lehman Foundation, and the Dian Woodner Exhibition Endowment Fund. Special thanks to William L. Bernhard and the late Catherine Cahill, Andreas Dracopoulos, Jack Shear, Anne Hendricks Bass Foundation, Ann R. Kinney in Memory of Gilbert H. Kinney, and John Wilmerding for their gifts to the International Council in support of the exhibition. Major support for the publication is provided by the Jo Carole Lauder Publications Fund of The International Council of The Museum of Modern Art.

artist

Paul Cézanne 
MOMA - The Museum of Modern Art, New York

MOMA | 11 West 53 Street
NY-10019 New York

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posted 05. Jun 2021

Elfie Semotan. Haltung und Pose

23. Apr 202129. Aug 2021
Elfie Semotan. Haltung und Pose 23.04.2021 - 29.08.2021 Kuratorinnen: Bettina Leidl und Verena Kaspar-Eisert Anlässlich ihres 80. Geburtstags würdigt das KUNST HAUS WIEN die große österreichische Fotografin Elfie Semotan mit einer umfangreichen Retrospektive. Die Ausstellung umspannt sechs Jahrzehnte von Elfie Semotans künstlerischem Werk. Ihr Werdegang reicht von eindringlichen Porträts, Aufnahmen aus den Ateliers verschiedener KünstlerInnen bis hin zu ihren Landschaftsaufnahmen und Stillleben. Als Mode- und Werbefotografin prägte sie erfolgreich und öffentlichkeitswirksam die österreichische Mode- und Werbeszene. In den 1990er-Jahren wird Elfie Semotan für ihre exklusive Arbeit mit Helmut Lang international bekannt. Als gefragte Fotografin wird sie fortan von Magazinen wie Vogue, Elle, Esquire, Marie Claire, Harper’s Bazaar und The New Yorker eingeladen. In der Ausstellung wird der fotografische Kosmos Semotans als großes, ineinandergreifendes Geflecht von spezifischen Fragestellungen und Herangehensweisen an das Medium Fotografie erfahrbar gemacht. Die Künstlerin Elfie Semotan inszeniert und erzählt innerhalb des Bildformats facettenreiche Geschichten. Anlässlich ihres 80. Geburtstags würdigt das KUNST HAUS WIEN die große österreichische Fotografin Elfie Semotan mit einer umfangreichen Retrospektive. Die Kunst und die Kunstgeschichtedienen Semotan in ihrer Arbeit vielfach als Inspirationsquelle. Adaptionen und Hommagen an Kunstwerke und KünstlerInnen finden sich in etlichen ihrer Serien, etwa Inspired by Lucian Freud (1997), Präraffaeliten (2005) und in Arbeiten, die auf ikonische Bilder von berühmten FotografInnen wie Diane Arbus, John Coplans, Robert Frank oder Irving Penn Bezug nehmen. Semotans Leidenschaft für die Kunst spiegelt sich auch in den vielen KünstlerInnenporträts wie Marina Abramovic, Louise Bourgeois, Bruno Gironcoli, Raymond Pettibon und Franz Westu.v.m. von denen Semotan eindringliche Porträts schafft. Der entspannte Blick der Dargestellten ist ein durchgängiges Charakteristikum in ihren Porträts. Bei den Aufnahmen in den KünstlerInnenateliersist es der achtsame Blick der Fotografin auf den Raum an sich - nicht nur auf die Person und die Gegenstände - die ihre Besonderheit ausmachen. Die Natur ist für Semotan stets Ort des Rückzugs und der Kreativität. Dabei spielt ihre Herkunft und ihr Haus im ländlichen Südburgenland, das sie neben Domizilen in Wien und New York bewohnt, eine wichtige Rolle. Ob analog oder digital fotografiert, ob in Schwarz-Weiß oder in Farbe, in ihren Landschaftsaufnahmenhat Semotan Momente des Poetischen eingefangen. „Elfie Semotan ist sicher die international bekannteste österreichische Fotografin. Die Retrospektive Haltung und Pose zeigt ihr umfassendes künstlerisches Werk der letzten 60 Jahre, von der Mode- und Werbefotografie bis hin zu ihren berührenden Landschaftsaufnahmen und Stillleben.“– Bettina Leidl, Direktorin KUNST HAUS WIEN Die Präsentation der 150 Arbeiten macht die verschiedenen Herangehensweisen Semotans an das Medium Fotografie erfahrbar:„Über diese große Museumsausstellung freue ich mich sehr und bin auch stolz, da das KUNST HAUS WIEN jener Ort in Wien ist, der sich kontinuierlich mit künstlerischer Fotografie auseinandersetzt. Die Ausstellungskomposition ist extravagant, meine Arbeit wird nicht chronologisch, sondern aus einem neuen intuitiven und innovativen Blickwinkel präsentiert.“– Elfie Semotan, KünstlerinElfie Semotan, 1941 in Wels geboren, besucht die Modeschule Wien in Hetzendorf und geht mit 20 Jahren nach Paris. Dort arbeitete sie für einige Jahre als Mannequin und erhält Einblick in die Welt der Mode und der Fotografie. Elfie Semotan prägt erfolgreich und öffentlichkeitswirksam die österreichische Mode- und Werbeszene. Mit Helmut Lang verbindet sie seit den 80ern eine intensive Zusammenarbeit wie eine lebenslange Freundschaft. International bekannt wird sie für Ihre Aufnahmen für Magazine wie Vogue, Elle, Esquire, Marie Claire, Harper’s Bazaar und The New Yorker. Elfie Semotan lebt in Wien, New York und Jennersdorf/Burgenland

artist

Elfie Semotan 
KUNST HAUS WIEN

Untere Weißgerberstraße 13
A-1030 Vienna

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posted 04. Jun 2021

CARL MANNOV

04. Jun 202125. Jul 2021
CARL MANNOV 04.06.2021 - 25.07.2021 Overgaden is excited to announce that Carl Mannov will present a large-scale solo exhibition focused on a new, site-specific installation at Overgaden in June and July, 2021. Carl Mannov (b. 1990 in Denmark) is a visual artist who graduated from the Oslo National Academy of Fine Art in 2014. Since then Mannov has exhibited in Denmark and abroad at, among others places, Gallery Christian Andersen in Copenhagen, Kunsthall Oslo, STANDARD (Oslo), and Parc de la Fonderie in Brussels, and recently took part in in the group show at Gl. Holtegaard ”FED LER.”

artist

Carl Mannov 
OVERGADEN Copenhagen

Overgaden Neden Vandet 17
DK-1414 Copenhagen

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