daily recommended exhibitions

posted 28. Sep 2021

Xianwei Zhu. In a Landscape

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


Xianwei Zhu 


Guiyan He 
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posted 27. Sep 2021

Elizabeth Neel. Limb after Limb

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

54 Eastcastle Street
W1W 8EF London

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posted 26. Sep 2021

Once Upon a Time Inconceivable

04. Sep 202110. Oct 2021
Location Yeni Kundura Building, Beykoz Kundura Yalıköy, Süreyya İlmen Cd. No:1, 34820 Beykoz, Istanbul  https://www.beykozkundura.com/ Protocinema https://www.protocinema.org * **Once Upon a Time Inconceivable** September 4–October 10, 2021 Culture Strike: Laura Raicovich in conversation with Mari Spirito: September 25 Artists: Abbas Akhavan, Hera Büyüktaşçıyan, Banu Cennetoğlu, Ceal Floyer, Gülşah Mursaloğlu, Zeyno Pekünlü, Paul Pfeiffer, Amie Siegel, Mario García Torres PROTOZINE: Once Upon A Time Inconceivable Protocinema is happy to announce Once Upon a Time Inconceivable, a group exhibition on the occasion of our ten-year milestone, cross-examining the pair of perception and realization; and their impairments in relation to time and space, bringing together works by Abbas Akhavan, Hera Büyüktaşçıyan, Banu Cennetoğlu, Ceal Floyer, Gülşah Mursaloğlu, Zeyno Pekünlü, Paul Pfeiffer, Amie Siegel, and Mario García Torres. The exhibition and public programs will take place at and with the kind collaboration of Beykoz Kundura, a cultural hub formerly a factory site of various mass-manufactures from the Ottoman Era to the present day, situated on the north-east coast of the Bosphorus, Istanbul. Coming at a crucial moment of crisis and loss that urges us to rethink all establishments and reevaluate personal, local, and global relationships, Once Upon a Time Inconceivable invites us to reassess the curious workings of perception and realization. Through the artworks bending perceived temporalities and conceived spatialities, this exhibition sheds light on the process of realization itself. Focusing on the dynamics of perception and realization matters as it turns our unevenly shared experience of the past into fuel for further changes in understanding that may (or may not) translate into changes in action. Ceal Floyer’s Overgrowth (2004) is a slide projection of a tiny bonsai tree scaled up to the size of a large wall. The tree’s dimensions are determined solely by the distance that the projector is from the wall which makes the distance between the wall and projector, rather than the projected image, the subject of the work. Mario García Torres’ Spoiler Series (n.d.), posters disclosing the endings of well-known movies, come out of research asserting that knowing the end of a narrative movie actually enhances the experience of the film, suggesting how when not focused on an unknown outcome, we maintain our capacity to read multiple layers of complexities. Without a Camera (2021) by Zeyno Pekünlü sources 325 different videos from an online video-sharing platform shot by people, machines and things, offering a remake of the film classic Man with a Movie Camera (1929) by Dziga Vertov. Pekünlü’s video runs parallel to the original editing of Elizaveta Svilova, but she replaces the camera and the cameraman with new recording technologies. These technologies render humans now as appendages of the devices and questions how our perceptions and realizations have been altered via new apparatus. Time is a more of a concrete element in Gülşah Mursaloğlu’s new sculptures, Merging Fields, Splitting Ends (2021), which take the heat as an agent that is unidirectional by nature, just like time, as a central component, both as a connector and an irreversible flow between material states. Abbas Akhavan’s work is kind of a halt—his new sculpture uses temperature to stop movement, freezing what was once fluid. Constructed of the innards of public fountains, the object, often seen in the center of public spaces, is now like a displaced chandelier, or a misguided satellite, time standing-still. Hera Büyüktaşcıyan’s new sculpture will resonate with the nature of Beykoz Kundura, once a factory mass-producing paper and leather and now a site used for film sets. Taking the building’s ongoing relationship to the skin as a façade (or façade as a skin), Büyüktaşçıyan invests in the morphology of surfaces that bears traces of time through material poetics in reference to the marbles of Hagia Sophia. She activates the space by deconstructing our perception of the interior and exterior and investigates how our physical positions are being shaped within it. Paul Pfeiffer’s Orpheus Descending (2001), a multi-channel video, displays the ten-week life cycle of a flock of chickens as they hatch from their eggs and develop from day-old chicks to full-grown adults. While the original live version of the video, installed in the World Trade Center three months before its destruction, displayed the chickens in real-time, this new version, shown in Istanbul 20 years after its first realization, brings all that has been lost along the way in changing times and spaces. Banu Cennetoğlu’s installation ‘‘IKNOWVERYWELLBUTNEVERTHELESS’’ (2015–ongoing) embodies the title in Turkish with 24 black letter-shaped mylar balloons. Quoting from the French psychoanalyst and ethnologist Octave Mannoni who studied the relationship between psychology and colonialism, this text refers to a belief in something that is at odds with one’s own experience, in a word: denial. Cennetoğlu, with helium-filled balloons fading out over time whilst deforming the expression, questions the entanglement between the knowledge and the participation. Amie Siegel’s video, Quarry (2015) traces the source of marble from the largest underground quarry in the world in Vermont to its high-end destination in Manhattan real estate developments. The film traces increasingly elaborated layers and strategies of recreation and simulation. Siegel’s meticulous rendering of the extraction of natural resources exposes a complex economy of production and speculation. Once Upon a Time Inconceivable will be accompanied by ProtoZine edition with texts by Lara Fresko Madra, Alper Turan, and Mari Spirito. The exhibition will be followed by a book project with additional commissioned texts by Laura Raicovich and Mari Spirito (conversation with artists), be launched in early 2022, and then distributed internationally. Protocinema is a cross-cultural, mission-driven art organization, commissioning and presenting site-aware art in Istanbul, New York, and elsewhere. We produce context-specific projects of the highest artistic quality that are accessible to everyone. Protocinema evokes empathy towards an understanding of difference, across regions through exhibitions, educational public programming, and mentorship. Protocinema maintains long-term relationships with artists nurturing sustained growth. Founded by Mari Spirito in 2011, Protocinema is a registered 501(c)3, free of ’brick and mortar’, sites vary to respond both to global concerns and changing conditions on the ground. protocinema.org About Beykoz Kundura: As one of the important historical and cultural values of Turkey with its history dating back more than two hundred years, Beykoz Kundura operates as a professional venue rental entity and is a meeting point where creative ideas are produced in harmony with today’s dynamics at a glorious spot across the Bosporus, since 2005. Kundura Cinema in 2018 marked the first stage in the redevelopment of Kundura as a multi-purpose arts venue that offers an alternative perspective in respect of films. In 2019, the Boiler Room project also expanded to include Kundura Stage, aiming to be one of the leading venues of Istanbul, showcasing international theatre, music and dance events. beykozkundura.com
Public Space Istanbul

Istanbul Metropolitan Municipality

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posted 25. Sep 2021

Peter Piller - Richard Prince

19. Jun 202131. Oct 2021
19.06.2021 - 31.10.2021 **Peter Piller - Richard Prince** Amerikanische Mythen und deutsche Lebenswirklichkeit, unterschiedliche Generationen, verschiedene Welten – mit Richard Prince (*1949) und Peter Piller (*1968) begegnen sich in der Weserburg Museum für moderne Kunst zwei höchst eigenwillige künstlerische Werke, die das Leben und Denken in und mit Bildern beispielhaft vorführen.   Cowboys, Rocker und ihre Girlfriends, Bilder voll machohafter Erotik, chauvinistischer Cartoons und klischeehafter Autos auf der einen Seite. Bauerwartungsflächen, unangenehme Nachbarn, flüchtende Vögel und Bürozeichnungen auf der anderen. Große Schauwerte treffen auf skurrile Alltagsbilder. Die Bildwelten von Piller und Prince könnten formal wie inhaltlich kaum unterschiedlicher sein.   Neben diesen offensichtlichen, radikalen Unterschieden sind es die überraschenden Ähnlichkeiten und vergleichbaren künstlerischen Strategien, die eine Begegnung von Piller und Prince reizvoll machen. So nutzen beide Künstler vorgefundene mediale Bilder, etwa Presse- oder Werbebilder, die sie sich aneignen und in Kunst verwandeln. Prince seit den 1970er Jahren, Piller etwa zwanzig Jahre später. Fragen nach Authentizität und Originalität werden hier ebenso verhandelt wie der Einfluss von Bildern auf unsere Vorstellung von Wirklichkeit. Sehnsüchte, Fantasien, aber auch die Untiefen moderner Gesellschaften werden dabei freigelegt – mit schonungsloser Härte und analytischem Feinsinn gleichermaßen.

artists & participants

Peter Piller,  Richard Prince 


Ingo Clauß 
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posted 24. Sep 2021


18. Sep 202131. Oct 2021
opening: 18. Sep 2021 05:00 pm
18.09.2021 - 31.10.2021 **JAKOB GASTEIGER | OTTO ZITKO** Petra und Anton Gölles laden herzlich zur Vernissage ein! VERNISSAGE Am Samstag, 18. September um 17:00 Einführung durch Günther Holler-Schuster, Universalmuseum Joanneum Graz Ausstellung bis 31. Oktober 2021 Mo – Sa 10 – 18 Uhr, So nach Vereinbarung 0664 2645975 * JAKOB GASTEIGER 1954 geboren in Salzburg 1970-1974 Hochschule für Musik und darstellende Kunst, Salzburg 1990 Faistauer Preis für Malerei 1995 und 1999 Preisträger österr. Graphikwettbewerb Innsbruck 2017 Würdigungspreis für Bildende Kunst des Landes Niederösterreich 2019 Großes Ehrenzeichen für Verdienste um das Bundesland Niederösterreich Jakob Gasteiger gilt als Vertreter der Analytischen Malerei. Er befragt in seinen Arbeiten Parameter der Malerei und thematisiert, erweitert und durchbricht die Grenzen von Graphik, Malerei und Skulptur. Die umfangreichste und zugleich bekannteste Werkgruppe des Künstlers bilden seine meist monochromen Bilder mit reliefartigen Strukturen, die sich durch das Verwenden einer Kammspachtel beim Auftragen der Farbe auf dem Bilduntergrund abbilden. Die Farbe wird innerhalb dieses Arbeitsprozesses von Gasteiger nicht als Inhalts- oder Bedeutungsträger eingesetzt, sondern als Material per se. Die Kammspachtel ist Gasteigers Werkzeug. Sie ersetzt den Pinsel und ermöglicht ohne persönliche Handschrift im Sinne eines mechanischen Prozesses zu arbeiten. Textauszug: Karin Schwarz-Hönig OTTO ZITKO 1959 geboren in Linz, Österreich 1977–1982 Universität für angewandte Kunst Wien 1996 Msgr.-Otto-Mauer-Preis 2004 Preis der Stadt Wien für bildende Kunst 2017 Kulturpreis für bildende Kunst des Landes Oberösterreich Als Otto Zitko Ende der 80er Jahre zu malen aufhörte, hatte dies keinen Manifestcharakter – nach dem Motto „auch für mich ist die Malerei tot“; es bedeutete dies nicht die Abwendung von der Malerei und deren scheinbare Überwindung, sondern in dieser Entscheidung firmierte sich paradoxerweise der selbstkritisch geläuterte Grund, nur so Malerei weiter treiben zu können: nämlich im Verfolgen der Linie. Es ging dem Künstler nicht um einen Graphismus als fundamentalistische Ideologie nach aller Malerei, sondern Zitko bedient sich des langen Wegs der Linie (Titel einer Zeichnung von 1987), um eine Spur vor aller Malerei zu hinterlassen. Seine Priorität setzte er in das Zeichnen, welches ihm die aktuelle Form des Malens ist, in die fließend fortlaufende Linie, schließt aber aus, damit der konventionellen Malerei eine endgültige Absage zu erteilen. Textauszug: Herbert Lachmayr

artists & participants

Jakob Gasteiger,  Otto Zitko 
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posted 23. Sep 2021

Angharad Williams – Something is better than nothing, or?

18. Sep 202130. Sep 2021
Angharad Williams – Something is better than nothing, or? Projekt der Halle für Kunst Lüneburg im öffentlichen Raum 18. – 30. September 2021 Rote Str. 1, 21335 Lüneburg Lesung: 27. September 2021, 16:00 Uhr Die Installation ist durchgängig geöffnet und wird von einem Text begleitet, der von der Künstlerin während einer öffentlichen Lesung präsentiert wird. Für die Teilnahme an der Lesung bitten wir um Anmeldung unter info@halle-fuer-kunst.de. Angharad Williams lebt in Berlin und Wales. Ihre Arbeiten und Performances wurden in Einzelausstellungen und Gruppenausstellungen in der Stadtgalerie Bern, Bern; bei Kevin Space, Wien; im Swiss Institute in New York (2021), in den KW Institut für Zeitgenössische Kunst, Berlin; im Kunstverein München, München (2020); im Haus zur Liebe, Schaffhausen; im ICA, London (2019); bei Cell Projects in London und bei Liszt, Berlin (2018) gezeigt. Das Projekt findet statt im Rahmen des CON NEXT - Festival der Verbindungen 2021 und wird ermöglicht durch eine Förderung des Landkreis Lüneburg. Das Jahresprogramm der Halle für Kunst Lüneburg wird großzügig gefördert durch das Land Niedersachsen, die Sparkassenstiftung Lüneburg und die Hansestadt Lüneburg. Das Vermittlungsprogramm wird ermöglich durch das Land Niedersachsen.
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posted 22. Sep 2021

5th International Biennale of Casablanca

22. Sep 202105. Nov 2021
The new proposed dates are 22 September - 5 November 2022. **5th International Biennale of Casablanca** (24.09.2020 - 01.11.2020) The Biennale Internationale de Casablanca is announcing with regret that its fifth edition will not take place in May 2021, as initially hoped. This is due to the ongoing global sanitary measures, travel restrictions, and extended periods of lockdown that have made it impossible to develop the biennale’s on-site programmes as intended, even in its revised plans. The new proposed dates are 22 September - 5 November 2022. However, the biennale is still planning a number of activities in 2021. These include a first set of artists residencies at IFITRY (Essaouira region) in July 2021, followed by an exhibition at the residency’s partner Contemporary Art Centre in summer 2021, and at the BiC Project Space (Casablanca) in autumn 2021. The biennale is also planning additional events along the Casablanca showcase that will be announced in the coming months. The biennale is anticipating that its 2022 programme will take on a staggered and more flexible format. This will be confirmed once there is more certainty on the global context. The biennale remains committed to finding ways of collaborating with all the artists selected for its fifth edition and is currently in discussion with its local and international partners in order to adapt these collaborations to the new programme and calendar. * The International Biennale of Casablanca is pleased to announce the first list of artists: Amira Hanafi, Khaled Kaddal, Alessandra Ferrini, Kyoo Choix, Ada Pinkston, Alice Mann. * The Biennale Internationale de Casablanca is pleased to announce the theme of its fifth edition scheduled from 24 September to 1st November 2020. Placed under the artistic direction of Christine Eyene, the 5th Biennale Internationale de Casablanca will focus on the theme The words create images. This curatorial concept takes its cue from a comment by South African photographer George Hallett discussing the literary inspiration at the heart of his photography practice, in an interview with John Edwin Mason, Associate Professor of African history and the history of photography at the University of Virginia. It also refers to an observation by Jacques Derrida in his seminar Trace and archive, image and art (2002), on the idea of ​​words acting as images beyond their discursive properties. The link between African literatures and creative processes will unfold in Casablanca and make way for the imaginary and narratives that nourish contemporary artistic creation. The biennale will open onto the fields of text, word, sign and languages, both vernacular and through their relationship with the colonial linguistic legacies in Africa and beyond. It will also involve questioning the ways in which language influences the thought systems and, by extension, the discourses and interpretations of a work of art, both in its matter and metaphorical sense. A reflection on translation and the untranslatable will also be developed. The notion of communication will also be approached through its means, methods, and media, whether oral, written or coded; through the transmission of customary, historical or contemporary stories; and through dialogue, with consideration for the diversity of discursive spaces, and how location informs, expands, or limits the room for expression. In this respect, the adoption of the term كلمة (kalima or word in Arabic), calls to mind the eponymous Moroccan feminist journal from the late 1980s that symbolised reclaimed voices and, ultimately, silencing. The curatorial concept of the 2020 edition is available on the biennale's website. The open call formulated along the lines of this note of intention was quite successful and a first list of artists will be announced in September 2019. Ahead of that, the biennale launched its 2019-2020 incubation programme at its new venue in Casablanca, the BIC Project Space. New international partnerships are being developed, among which the biennale can already mention the Making Histories Visible project at the University of Central Lancashire which support will first consist in the curatorial research, the hosting of participatory workshops, and artists residencies. The biennale is also consolidating its partnership with New Art Exchange (Nottingham) as part of Africa/UK: Transforming Art Ecologies and Here, There & Everywhere, NAE’s programmes of international artistic collaborations supported by Arts Council England. Building on a network of cultural agents based on the African continent, this collaboration will contribute to support the talent development of four emerging art professionals who will join the biennale’s 2020 team. NAE will also be a partner of the biennale’s artists residency programme both at Ifitry (Essaouira region) and at the BIC Project Space. * Six Reunionese Artists at the 5th International Biennale of Casablanca The International Biennale of Casablanca is pleased to announce a new partnership with FRAC RÉUNION (Fonds régional d’art contemporain de La Réunion) as part of the participation of six Reunionese artists at the 5th edition of the biennale, scheduled 24 September to 1 November 2020. The artists are: Jean-Sébastien Clain and Yannis Nanguet (aka Kid Kréol & Boogie), Brandon Gercara, Christian Jalma (aka Pink Floyd), Gabrielle Manglou and Myriam Omar Awadi. This intergenerational selection reflects the wide range of contemporary artistic practices in Reunion Island, a territory which cultural heritage stretches between France, the East African coast, islands from the Indian Ocean, India and China. The works presented at the biennale will address a variety of topics specific to Reunion Island while being at the heart of current decolonial thoughts. This will include an exploration of the island’s founding myths, the history of slavery, colonisation and independence struggles, in ways that propose a new reading of the past in light of the present, and vice versa, drawing from both traces or storytelling, and memorial objects. To Floyd's metaphysical thoughts and cosmogonic universe, embodied in installation, sound art and performance, will respond the art of Kid Kréol & Boogie whose works on paper, sculptures, murals and interventions in the public space deal with an ancestral content in a contemporary manner. Drawings, photographs, volumes, archival images and Moroccan women’s traditional knowledge will feed into Gabrielle Manglou’s new creations. Myriam Omar Awadi will expand her field of research in the Comoro Islands to study the history of the Debe, an ancient Comorian ceremony exclusively female, inspired by Arabic literature, born at the beginning of French colonisation in the mid-nineteenth century. Finally, the performative art of Brandon Gercara will propose a new approach to gender narratives through a critical study of the dynamics of domination in a postcolonial context. Myriam Omar Awadi’s residency in the Comoros receives additional support from FRAC RÉUNION. The other 5 artists will be hosted in Morocco for a research period in Casablanca and a creative residency at Ifitry (Essaouira region). Floyd's residency is organised in collaboration with Lerka - Space for Research and Creation in Contemporary Arts (Saint-Denis de la Réunion).
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posted 21. Sep 2021

inventing the past

11. Sep 202123. Oct 2021
11 September – 23 Oktober **inventing the past** Neïl Beloufa | Natacha Donzé | Haroon Mirza | Keith Sonnier | Lou Jaworski The international group exhibition inventing the past follows directly in the footsteps of the previous presentation entitled chasing another tomorrow. This second chapter illustrates a temporal change in perspective. This new point of departure presents us with a fictional narrative of the future, and by experimenting between time horizons, exposes the view of present systems and structures. The artistic positions are united in their conceptual approach, as well as in their questioning of the technological effects on human existence. The exhibition traces the formal issues of conceptual art of the 1970s from the perspective of a younger generation of artists. Reflecting upon the current times, technological progress is put in relation to the high sensitivity of our natural environment. The ties between people, technology and nature reveal the field of tension from which the works draw a complex significance, amassed out of technical components, geometric shapes and natural elements. The gallery is transformed into a kind of mystical landscape, in which natural and technoid elements enter into a dialogue and allow various different histories to be written. As one of the pioneers of post-minimal art, Keith Sonnier revolutionized sculpture in the 1970s and was one of the first artists to connect neon and the new technologies of his time, helping to materialize the spatial and cultural logic of these systems in real space through the unique perceptual properties of neon light. For Sonnier working with light was closely connected to new communication structures and the radiating waves of neon a way to visualize a world where distances become smaller and communication is possible in an instant. The exhibition presents how the artist increasingly experimented with light and neon as a material in his practice. Central to the exhibition is Haroon Mirza‘s installation Standing Stones (Solar Symphony 8), which combines technology and references from ancient cultures. A solar panel is diagonally attached to a large black stone sculpture, across from which a smaller stone stands in opposi- tion. While tracking the sun‘s movement across the sky, the solar panel generates electricity, powering a series of LED lights and a speaker. Mirza’s particular fascination for electricity as a material is based in his interest in music and sound, which are repeatedly utilized as determina- tive media in his artistic work. In addition to high-tech elements, the work also pertains to ancient rituals, referring to monoliths and stone circles. The work Stonehenge, probably his most famous example, was last exhibited in the park of the Museum Tinguely in Basel. The works of the recurring Venice Biennale participant Neïl Beloufa combine a wide variety of materials and techniques and address our contemporary society, which is permeated by digital technology, its value systems and representational strategies. In his wall objects from the series The Moral of the Story, the artist uses classical narrative codes to create an allegory of the contemporary world that, with references to capitalistically structured actions, the intimacy of the family, environmental catastrophes, and species extinctions, reveals the limits of an individualistic approach. Rather than creating traditional illusory pictorial spaces, Natacha Donzé drafts dimensionless spaces in her work, poised between our own reality and the distant images of the future or the past, hinting at a vague narrative through abstract forms of cultural tokens. In her works, Donzé decons- tructs the power structures of institutional, political and commercial systems of the present by taking up fragments of these orders and embedding them in a non-hierarchical within her own visual worlds. Lou Jaworski‘s sculptures combine magnetic materials with neon and computer server racks, originally utilized for storing digital data. His geometrically shaped ferrite magnet works are charac- terized by the intriguing interaction of material autonomy, ephemeral abstraction and physical laws. The artist is interested in metaphysical questions that are connected with formal reduction, as well as with phenomena of human perception. In the multi-part work L.A., the cylinders mounted in sockets and on the wall appear at first glance to be industrial neon tubes, and only upon closer inspection does the materiality of the marble columns become visible.
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posted 20. Sep 2021

Robert Rauschenberg. Channel Surfing

10. Sep 202123. Oct 2021
Robert Rauschenberg. Channel Surfing Sep 10 – Oct 23, 2021 FOR IMMEDIATE RELEASENew York – Pace is pleased to present Robert Rauschenberg: Channel Surfing, an exhibition of more than 30 works by the renowned American artist at 540 West 25th Street in New York. Running from September 10 to October 23, 2021, the presentation focuses on Rauschenberg’s response to the rise of global media culture from the early 1980s to the mid-2000s. Spotlighting Rauschenberg’s return to painting after a decade-long hiatus from the medium, this exhibition examines the artist’s development of a radical new approach to his canvases that combined elements of photography, printmaking, and sculpture. Robert Rauschenberg: Channel Surfing traces the artist’s creation of a visual language that addresses fundamental transformations in media culture in the late 20th-century, a period marked by the apotheosis of television and the emergence of the internet. Focusing on the final decades of Rauschenberg’s longtime explorations of the reach and power of technology, the exhibition showcases the artist’s reinvention and reimagining of his early artistic investigations of the 1960s. It also highlights Rauschenberg’s turn toward using his own visual archive of photographs and prints as material for his later works, a shift from his earlier use of appropriated imagery. A selection of major and rarely seen works from private and public collections will be on view in the show, including works from the series Salvage (1983-85), Shiners (1986-93), Copperheads (1985/89), Gluts (1986–89/1991–94), Urban Bourbons (1988-96), Arcadian Retreats (1996), Anagrams (A Pun) (1997-2002), Apogamy Pods (1999-2000), Short Stories (2000-2002), Scenarios (2002-2006), and Runts (2006-2008). Spanning three decades of Rauschenberg’s expansive and deeply influential practice, Channel Surfing offers a focused survey of the later years of the artist’s career. Anchoring the presentation is the large-scale painting Colonnade (1984), a key work from the artist’s Salvage series. In that series, Rauschenberg explored the possibilities of repurposing imagery from his own past, setting into motion much of the work that would follow. Monumental and bold, Colonnade exemplifies his interest in forging visual circuits between history and the present. September 10 – October 23, 2021540 West 25th StreetNew York Robert Rauschenberg: Channel Surfing Robert Rauschenberg, Climb (Urban Bourbon), 1993© 2021 Robert Rauschenberg Foundation / Artists Rights Society (ARS), New York FOR IMMEDIATE RELEASEA presentation of photographs by Rauschenberg on view in the gallery’s library builds on these connections between the artist’s paintings and photography late in his career. Included in this showing are three works from the artist’s Photem Series, photo collages mounted on aluminum and produced in the early 1990s, and a group of digital prints of photographs Rauschenberg originally shot on film created in the same period. Rauschenberg’s engagement with globalization is a recurring theme throughout the exhibition. In the mid-1980s, the artist presented the international traveling exhibition Rauschenberg Overseas Culture Interchange (ROCI), through which he advocated for art’s power to enact meaningful social change and cultivate exchange across borders. In the following years, he began using his practice to address connections between the forces of globalization and the threat of environmental destruction. On view in this exhibition are several major sculptures from his Gluts series, which the artist created after a trip to Texas amid an economic crisis precipitated by an excess of supply in the oil market. Included in this group of sculptures, which incorporate found objects and signage, is the celebrated work Primary Mobiloid Glut (1988), on loan to Pace from the Whitney Museum of American Art, New York. Rauschenberg’s late paintings are distinguished in part by the use of nontraditional supports, including copper, aluminum, galvanized steel, and, eventually, polylaminate. The exhibition draws connections between his use of these materials and the metal of the Gluts sculptures, linking the formal characteristics of the artist’s earlier works with ongoing issues related to globalization and climate. The reflective surfaces of these late paintings also serve a participatory function, bringing viewers into the works as active contributors and emphasizing art’s potential impact on individuals and global systems alike. Another highlight in the exhibition is a selection of the artist’s Apogamy Pods, which will be presented on the gallery’s seventh floor. Rauschenberg once commented that with the Apogamy Pods, he wanted to create paintings that “grow out of themselves,” and which “contain their own contradictions and get rid of narrative, which is the sex of picture-making.” By leaving large swathes of the picture plane almost entirely blank, he frustrates viewers ability to make sense of the works and distill them into stories, forcing audiences to contend with the physical presence of the work itself, the wall on which it hangs, and the surrounding space that occupied along with it. Robert Rauschenberg (b. 1925, Port Arthur, Texas; d. 2008, Captiva, Florida) captured the experimental spirit of postwar art with his constantly innovative practice, bringing traces of reality into his work while blurring distinctions between media. Although he eschewed defining affiliations, his interdisciplinary practice positioned him as a forerunner of nearly every artistic movement following Abstract Expressionism. Rauschenberg’s celebrated Combines (1954–64) juxtapose disparate media with found objects and imagery, encompassing a space between painting, photography, collage, printmaking, sculpture, and performance. Developing his philosophy that painting relates to both art and life, Rauschenberg further investigated this dialogue through collaborations with artists, musicians, choreographers, performers, and writers.

540 West 25th Street
NY 10001 New York

United States of Americashow map
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posted 19. Sep 2021

James Ensor

11. Jun 202103. Oct 2021
11.06.2021 bis 03.10.2021 **James Ensor** Das Werk des belgischen Künstlers James Ensor (1860-1949), der berühmte „Maler der Masken“, ist tief in der Geschichte der Kunsthalle Mannheim verwurzelt. Bereits 1928 wurde der Maler dort in einer Einzelausstellung als bedeutender zeitgenössischer Ausnahmekünstler gefeiert. Nun widmet die Kunsthalle James Ensor erneut eine große Ausstellung, in deren Zentrum das Schicksal eines Bildes steht, das einst zur Sammlung des Museums gehörte: Das Gemälde „Der Tod und die Masken“ wurde 1937 von den Nationalsozialisten als „entartet“ beschlagnahmt und befindet sich heute im Musee des Beaux-Arts Lüttich. Anlässlich der Ausstellung kehrt es temporär nach Mannheim zurück. In den 1950er Jahren wurde als Ersatz für das verlorene Bild das Gemälde „Der tote Hahn“ erworben, das beispielhaft für Ensors Stillleben steht, die einen wichtigen Stellenwert in seinem Schaffen beanspruchen. Als Bild im Bild taucht es in Ensors zentralem „Das malende Skelett“ auf. Um diese drei Bilder gruppieren sich weitere internationale Leihgaben zum Motivkreis Selbstbildnis–Maske–Tod–Stillleben, die zeigen, wie eng verflochten diese Thematik in Ensors Schaffen war. Ergänzt wird die Schau durch den umfangreichen Grafikbestand des Künstlers in der Kunsthalle, darunter „Scènes de la vie du Christ“ und „La Gamme d‘ Amour“. Insgesamt werden über 60 Gemälde, 120 Arbeiten auf Papier sowie einige Masken aus Ensors Besitz zu sehen sein. Kuratorin: Dr. Inge Herold


James Ensor 


Inge Herold 
Kunsthalle Mannheim

68165 Mannheim

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posted 18. Sep 2021


29. May 202103. Oct 2021
Congoville Contemporary artists tracing colonial tracks May 29–October 3, 2021 Both the Middelheim Museum and the University of Antwerp are situated where the Colonial College was founded in 1920. More than one hundred years later, the Middelheim Museum confronts and examines the traces of the (post)colonial history of the site. It does so by bringing together new historical research with contemporary artistic views. Congoville invites artists to reimagine the Middelheim terrain as a renewed historical and public space. Guest curator Sandrine Colard uses Congoville as a collective name for physical and mental vestiges of the colonial past in Belgium. These traces are often hidden in plain sight and continue to have a conscious or unconscious effect in today’s society. They include street names, monuments, and built patrimony; colonial myths and the mentalities that these nurtured, the African presence and the experiences borne by people of African descent. Certainly the Middelheim site, as a former focus point of colonial education, is part of this unseen city. For the exhibition, 15 internationally renowned artists, in the role of “black flâneurs,” take the visitor on a walk in the park. They guide us in a quest to revisit the past and transform the public space into a truly shared one; they present new and different perspectives of a history that is too often told from a single perspective. “Today, as a free and an open air art museum, the Middelheim has the democratic potential to invite diverse visitors to look at colonial and postcolonial history through the eyes of black flâneurs of the world, and to transform Congoville from being a creation of colonial exploitation to a map for a future postcolonial utopia.” —Sandrine Colard, 2020 The 15 artists who participate in the exhibition are Congolese, African and African descendants, or have developed over the years a longstanding practice and firsthand knowledge about the postcolonial history of the Congo and Belgium. All artists seek to reverse the role of the park as a former training ground for colonial college students, and to take the visitor on a temporal and decolonial walk guided by the gaze of Congolese, South African, Nigerian, and African-American artists, among others. Curator: Sandrine Colard (Belgium/US) Artists: Sammy Baloji (Belgium/Democratic Republic of the Congo), Bodys Isek Kingelez (Democratic Republic of the Congo), Maurice Mbikayi (Democratic Republic of the Congo), Jean Katambayi (Democratic Republic of the Congo), KINACT collectief (Democratic Republic of the Congo/France), Simone Leigh (US), Hank Willis Thomas (US), Zahia Rahmani (Algeria), Ibrahim Mahama (Ghana), Angela Ferreira (Portugal/Mozambique), Kapwani Kiwanga (Canada), Sven Augustijnen (Belgium), Pascale Marthine Tayou (Cameroon/Belgium), Elisabetta Benassi (Italy), Pélagie Gbaguidi (Benin). Publication: together with Leuven University Press, Middelheim Museum is publishing an exhibition catalogue in which, alongside interviews with the artists, numerous authors, academics and experts zoom in and out on the project. With contributions of: Sandrine Colard, Nadia Yala Kisukidi, Sorana Munsya & Léonard Pongo, Filip De Boeck and Bas De Roo, among others.


Sandrine Colard 
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posted 17. Sep 2021

Günter Brus. Bild-Dichtungen

18. Jun 202117. Oct 2021
18.06.2021 –17.10.2021 **Günter Brus. Bild-Dichtungen** Eine Retrospektive des Genres „Bild-Dichtung“ Eine umfangreiche Schau mit mehr als 900 beschriebenen und bezeichneten Einzelblättern widmet sich dem Genre der Bild-Dichtung, das Günter Brus begründete. Spezifisch ist, dass „das Bild und die Dichtung gleichbedeutend nebeneinanderstehen. Die Bilder sind somit keine Illustrationen zu den Texten, sondern sie werden vom Künstler absichtlich kontrapunktisch gesetzt“, so Kurator Roman Grabner. Von den 1970ern bis in die 2000er-Jahre entstanden Bild-Dichtungen in verschiedenem Umfang. Mache umfassen nur drei Blätter, die umfangreichste Brus’ and Blake’s Job hingegen 162. Ab etwa 2009 entstanden so gut wie keine neuen Bild-Dichtungen, weil Günter Brus sich – wie er selbst sagte – „ausgezeichnet“ hatte und sich vorwiegend seiner Literatur widmete. Im Jahr 2020, im Zuge des Corona-Lockdowns, konnte er nicht mehr in seinen Stammlokalen schreiben und kehrte wieder in sein Atelier zurück, wo neue Arbeiten aus diesem Genre entstanden. Die Ausstellung zeigt die Fülle seiner Bild-Dichtungen von den Anfängen bis zu den jüngsten Blättern aus dem Jahr 2020. „Ich wollte mir die Sprache vom Leib weg schreiben.“ Mit der Zerreißprobe beendet Brus 1970 seine Aktionszeit und es entsteht ein zeichnerisches Werk, das mehrere 10.000 Blätter umfasst. Aus dem Auftrag, eine Dokumentation seiner Aktionen zu verfassen, entsteht 1971 der Text-Bild-Band Irrwisch, „eines der radikalsten Bücher der Welt“, wie Peter Weibel meint. Der Irrwisch repräsentiert den Übergang vom Körper zum Textkörper und weist mit dem letzten, handgeschriebenen Kapitel über die Pfaueninsel auf seine Bild-Dichtungen voraus. Ähnlich wie der Irrwisch ist auch der nächste Schritt auf dem Weg zur Bild-Dichtung dem Zufall geschuldet. Brus fertigt für die Galerie Michael Werner in Köln ein Konvolut von über 100 expressiven Farbstift-Zeichnungen, die für eine Folgeausstellung gedacht sind, nachdem die erste Präsentation mit Zeichnungen aus der Irrwisch-Zeit ein überraschender Erfolg war. Enttäuscht darüber, statt der realistischen, provokant-pornografischen Bleistiftzeichnungen nun plötzlich wild hingefetzte Farbstift-Zeichnungen zu erhalten, denen er die kapitalistische Verwertung abspricht, retourniert der Galerist dem Künstler das Konvolut mit dem Kommentar, dass dieser einen falschen Weg eingeschlagen hätte. Brus beginnt daraufhin die DIN-A4-großen Zeichnungen auf Karton zu kleben und frei dazu zu schreiben. Es entstehen als 18. Schachtel in der Edition Hundertmark 30 siebbedruckte Schachteln, in denen sich je 5 beschriebene und mit Zeichnungen versehene Seiten befinden ‒ Der Balkon Europas. In der ersten Ausgabe des Balkons hebt der Künstler zuerst wortschöpfend eine Art erotische Litanei über das „Weib Europa“ an, um auf den letzten beiden Blättern die Spieler der Fußballmannschaft von Austria Wien der frühen 1950er-Jahre aufzuzählen. Erst mit der Edition Der Balkon Europas wird die Verquickung von bildender Kunst und Literatur bei Brus zu einem bewussten künstlerischen Prinzip. Günter Brus und William Blake In den 1970er-Jahren werden die „illuminated manuscripts“ von William Blake Vorbild und Legitimation seiner eigenen Manuskripte, wie er seine Bild-Dichtungen zu diesem Zeitpunkt noch nennt. Ähnlich wie bei den prophetischen Büchern von Blake scheint das Verhältnis von Bild und Text auf den ersten Blick bestechend, doch stellt sich bei näherer Betrachtung heraus, dass es keine exakte Übereinstimmung gibt, keine einfache Kohärenz der Motive und Sprach-Bilder. Bereits 1977 hat Brus William Blake eine Bild-Dichtung gewidmet, bei der er drei seiner Gedichte selbst übersetzt hat und zeichnerisch erweitert. In Die Erzeugung der Erzengel aus Schmutz zeichnet er eine Art Ahnengalerie und Blake sitzt ihm als Engel auf der Schulter. In den Jahren 2007 bis 2008 entsteht sein spätes Hauptwerk Brus’ and Blake’s Job. In dieser umfangreichsten Bild-Dichtung zieht Brus auf 162 Blättern noch einmal alle Register seines Könnens und zeichnet, schreibt, malt und collagiert zu Blakes Buch Hiob. Die Bild-Dichtung ist eine Synthese von Sprache und Bild, bei der sich die beiden Ausdrucksformen nicht bedingen, sondern ein dialektisches und kontrapunktisches Neben- und Miteinander führen. Der Text gibt keine Erklärungen zum Bild ab, doch ist er reich an sprachlichen Bildern und Metaphern. Die Zeichnung stellt keine Illustration des Geschriebenen dar, obgleich in ihr ebenso poetisch erzählt wird. Alleine die unterschiedlichen Entstehungsprozesse einer Bild-Dichtung machen es nahezu unmöglich, diese in Kategorien zu packen. Manchmal geht Brus von eigenen Texten aus, zu denen später Zeichnungen entstehen, manchmal entstehen zuerst Zeichnungen, die später durch Texte ergänzt werden. In einigen Fällen hat Brus Texte von anderen Autoren mit Zeichnungen versehen, in einigen Fällen hat er vorhandenes Bildmaterial textlich überarbeitet. „Im Idealfall verschränkt es sich miteinander“, wie er selbst schreibt. Hat er in seinen Aktionen die Grenzen der Körperkunst ausgelotet, so hat er sich mit seinen Bild-Dichtungen an den Grenzen der Sprache angesiedelt. Dort, wo das Vermögen der Sprache endet, beginnt die Zeichnung, und dort, wo die Linien und Farben ihre Erschöpfung finden, beginnt die Sprache. Die aktuelle Ausstellung zeigt erstmals ausschließlich die Bild-Dichtungen von Günter Brus und ist bis 17.10.2021 zu sehen.


Günter Brus 
Neue Galerie Graz / Bruseum

NEUE GALERIE / BRUSEUM Joanneumsviertel, Kalchberggasse
8010 Graz

Austriashow map
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posted 16. Sep 2021

Laura Owens & Vincent van Gogh

19. Jun 202131. Oct 2021
from 19 June to 31 October 2021 **Laura Owens & Vincent van Gogh** During this summer 2021 the Fondation Vincent van Gogh Arles is presenting an exhibition bringing together new works by the American artist Laura Owens with seven paintings by Van Gogh, most made in and around Arles. Owens is one of the most celebrated American artists working today. For twenty-five years she has asked probing questions about the parameters of painting. She has expanded painting’s possibilities by breaking through the boundaries between painting and other fields of visual and material culture such as embroidery, design, children’s illustrations and digital drawing. In this exhibition, Owens’s works will host and respond to Van Gogh’s paintings. Owens spent most of 2020 living in and around Arles, and her new work comes out of meticulous research into the history of the city and of Van Gogh’s connections here. Like most artists, Owens has known Van Gogh’s work since she was a child, and she has looked at his art in various ways throughout her career. One of her breakthrough paintings, now in the collection of the Whitney Museum of American Art, Untitled (1997), shows black birds over a seascape, reminiscent of Van Gogh’s Wheatfield with Crows (1890). Owens’s conceptual use of dramatic impasto, especially since 2012, recalls the textures of Van Gogh’s best known works. The seven Van Gogh paintings to be shown at the Fondation Vincent van Gogh Arles include loans from museums with which Owens has a deep connection. Hospital at Saint-Rémy (1889) comes from the Hammer Museum in Los Angeles, the city where she lives when not in Arles. Other key loans include The Fields, painted in Auvers-sur-Oise shortly before Van Gogh died. Laura Owens has often addressed the spaces where she has exhibited. Many early works responded to the architecture of a gallery; more recently, Owens has installed canvases as sculptural objects and embedded paintings within gallery walls. For this exhibition she has created a vast painting, in the form of a unique hand-painted and silkscreened wallpaper installation, which will cover the entire walls of the rooms where the Van Gogh works will be exhibited. Many of the motifs in the wallpaper come from designs made by Winifred How, who worked in London as an artist and designer shortly after Van Gogh was alive. Owens discovered an archive of How’s work in Los Angeles while considering the invitation to make this show in Arles. Aware of Van Gogh’s incredible fame and the total obscurity of another artist from nearly the same period, she chose to celebrate How’s work in hosting Van Gogh’s. The exhibition will feature several artist’s books inspired by Van Gogh’s letters and work, including a book about each of the paintings borrowed for the exhibition. These books are intricate sculptural objects with complex fold-outs, and viewers will have the opportunity to open them out to discover their contents. The books will be exhibited on specially made tables. The tables have hidden features which might make the books move around them in an intimate but magical spectacle. The books also draw from Owens’s research into the cholera pandemic in the second half of the nineteenth century, an event that resonates with the circumstances during her 2020 stay here. Van Gogh’s interest in setting up an artists’ community in Arles is echoed in Owens’s career-long efforts to create spaces for other artists to exhibit. In collaboration with Maja Hoffmann and LUMA Arles, Laura Owens has also started a parallel project in Arles. She has turned an apartment building, located in the town centre, into a studio and living quarters for artists who will spend short residencies there; this space will slowly be filled with their, and her art. Co-curated by Bice Curiger (artistic director of the Fondation Vincent van Gogh Arles) and Mark Godfrey (British art historian, critic, and curator), the exhibition will share how Laura Owens explores the images, colours and methods of Van Gogh, creating a conceptual framework for her investigations. * LAURA OWENS Born in 1970 in Euclid, Ohio, Laura Owens is an American painter based in Los Angeles. A graduate of the Rhode Island School of Design (1992), the Skowhegan School of Painting and Sculpture (1994), and the California Institute of the Arts (1994), she rose to prominence over the course of the 1990s, becoming one of the most acclaimed artists of her generation. She is known for her varied and experimental approach to the medium of painting, mixing different techniques and incorporating other media, such as digital design, into her creative process. While her work focuses on the practice of painting itself, Owens also addresses the contexts in which her art is displayed. She is thus interested in modes of installation and site-specificity. In addition to her activity as a painter, Laura Owens has also produced over two hundred unique and editioned artist’s books, sometimes accompanied by custom-made tables with hidden drawers and other surprises. In 2013, together with Wendy Yao, she founded the arts space 356 Mission. For five years 356 Mission hosted exhibitions, discussions and performances that were free and accessible to all. Works by Laura Owen today form part of prestigious private and public collections, ranging from the Centre Pompidou (Paris) to the Museum of Modern Art (New York) and the Tate (London). VINCENT VAN GOGH (1853-1890) Vincent van Gogh was born on 30 March 1853 in Groot-Zundert in the Netherlands. At the age of sixteen he joined Goupil & Cie, a firm of art dealers in The Hague, and subsequently worked in the company’s offices in Brussels, London and finally Paris. He gradually lost interest in the commercial art world and, in 1878–1879, he became a lay preacher in a mining community in the Borinage area of Belgium. In August 1880 Van Gogh decided to become an artist. He wanted to be a painter of everyday life, and, above all, of peasant life, following in the footsteps of artists such as Jean-François Millet. Landscapes and still lifes, too, became an important part of his oeuvre. In Paris in 1886 he discovered Japanese prints and met some of the Impressionist artists. Convinced that colour was the key to modernity, Van Gogh left for Provence in search of bright light and vibrant colours. Dreaming of establishing a community of artists, in February 1888 he settled in Arles. Gauguin joined him in October, but their collaboration collapsed in late December of that year. Disappointed and ill, in May 1889 Van Gogh admitted himself to a psychiatric hospital in Saint-Rémy, where he remained for a year. He continued with his search for an expressive art based on colour and brushstrokes, creating more than 500 paintings and drawings during his 27 months in Provence. In May 1890 Van Gogh moved to Auvers-sur-Oise, where in just over two months he produced the final 70 paintings of an oeuvre that comprises more than 2,000 works. He died on 29 July 1890 at the age of 37. Van Gogh’s artistic genius and the poignant story of his life transformed him into a veritable international icon.

artists & participants

Laura Owens,  Vincent van Gogh 
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posted 15. Sep 2021

Doreen Garner: Steal, Kill and Destroy: A Thief Who Intended Them Maximum Harm

03. Sep 202114. Nov 2021
opening: 02. Sep 2021
03.09.2021 – 14.11.2021 Eröffnung: 02.09.2021 **Doreen Garner: Steal, Kill and Destroy: A Thief Who Intended Them Maximum Harm** Doreen Garners Skulptur- und Performance-Arbeiten beschäftigen sich mit der Geschichte der medizinischen Experimente an schwarzen Körpern in Amerika und dessen systematischer Ausbeute. In Auseinandersetzung mit historischen Ereignissen und kulturgeschichtlichen Phänomenen zeigt Garner die problematische Beziehung von Medizin und Rasse auf, die bis heute anhält. Die figurativen Werke der Künstlerin bestehen unter anderem aus Silikon, Glasfaserisolierung, Kunststoff, Vaseline, künstlichem Haar, Kristallen und Perlen, und ähneln fragmentierten, ja sogar amputierten Körperteilen oder menschlichen Überresten. In ihrer ersten institutionellen Ausstellung in Europa Steal, Kill and Destroy: A Thief Who Intended Them Maximum Harm (Stehlen, töten und zerstören: Ein Dieb, der ihnen größtmögliches Leid zufügte) zeigt Garner drei Objekte, unter anderem eine eigens in Auftrag gegebene Neuproduktion. Im Zentrum der Präsentation steht die Darstellung von schwarzen entmenschlichten wie auch jene von weißen Körpern, die diese Entmenschlichung zu verantworten haben. Durch ihre experimentelle additive Herangehensweise, verschiedenste Materialien zu kombinieren, entstehen einzigartige anthropomorphe Objekte zwischen Nouveau Realisme und Pop Art, die die Erniedrigung und Vergegenständlichung schwarzer Körper schonungslos wiedergeben und weiße Körper klar als jene ausweisen, die jenes Leid auslösen. In der Reflexion von Vergangenheit und Gegenwart widmet sich die Ausstellung verschiedenen Aspekten innerhalb der modernen Medizin und entlarvt sie als höchst problematische Disziplin, die auf Mechanismen der Ausbeute und Unterdrückung beruht. Für die neue Werkgruppe Roughly documented, Three Million Eighty Eight Thousand Seven Hundred and Seventy Six (2021) und Roughly Documented, Three Million Eight Hundred Ninety Four Thousand and Fifty Six (2021) schuf Garner zwei Objekte als Flaggen, die jeweils in einem Metallrahmen hängend eine ausgewiesene Vorder- und Rückseite haben. Aus verschiedenen weißfarbigen Silikonstreifen, die unterschiedliche Körperteile mimen, nähte die Künstlerin Oberflächen, die als Einheit die Muster der Nationalflaggen des Vereinten Königreichs und Portugals wiedergeben. Die weiße Haut auf der britischen Flagge erscheint hier nicht nur fragmentiert, sondern mit Blasen übersät, wie sie bei einer Syphilis- oder Pockenerkrankung entstehen würden. Während auf dem größeren Abschnitt der portugiesischen Flagge die Oberfläche mit Anzeichen von Scharlach gezeichnet ist, zeigen sich auf dem restlichen Teil solche von Syphilis oder Pocken. Die Rückseite der Arbeiten sind nur mit Hilfe von zwei Spiegeln betrachtbar, die an der Wand hinter den hängenden Objekten angebracht sind. Blickt man auf die Bilder, die jene reflektieren, erkennt man dunkelbraune und schwarze Körperteile. Die Arbeit entstand während der noch immer anhaltenden globalen Covid-19-Pandemie und verhandelt den weißen Körper als ​„Kolonialkörper“, der aus historischer Perspektive angetrieben von der Inbesitznahme vormals unbekannter Territorien konstant Krankheiten und Viren verbreitete. In diesem Zusammenhang wird historisch auf vornehmlich von weißen Körpern übertragene Krankheiten wie Syphilis, Pocken, Scharlach, Beulenpest, Typhus, Gelbfieber und Malaria Bezug genommen. Während Garner in dieser Gegenüberstellung einen klaren Bezug zwischen Kolonialismus, Politik und Medizin herstellt widmet sich die Arbeit THE PALE ONE (2020) in Verwendung einer allegorischen Sprache ebenfalls dem kolonialisierenden weißen Körper. Das Objekt aus Silikon, Urethanschaum, künstlichem Haar und Swarovski-Perlen stellt einerseits das Maul eines Drachen als auch einen Pferdekopf dar. Garner wurde für diese Arbeit durch die biblische Geschichte des apokalyptischen Reiters inspiriert, der als Tod auf einem weißen Pferd reitet und die dystopische Kraft besitzt, ein Viertel der Weltbevölkerung mit sich zu reißen. Die Werke beschwören nicht nur die Schrecken der Vergangenheit, sondern zeigen klar auf, dass auch heute die Disparitäten zwischen einer privilegierten, mobilen weißen Mehrheit und einer farbigen, ökonomisch schwachen Minderheit fatale Wirkungen vor allem auf letztere haben. Red Rack of Those Ravaged and Unconsenting (2018) lenkt den Blick auf ganz konkrete Ereignisse in der Entwicklung der modernen Medizin in den USA. Hier steht der durch experimentelle Operationen fragmentierte weibliche schwarze Körper im Vordergrund. Eine wichtige Referenzfigur dafür ist der amerikanische Gynäkologe James Marion Sims (1813 – 1883). Seine bedeutendste Arbeit war die Entwicklung einer Technik zur Behebung von vesikovaginalen Fisteln, einem abnormalen oder chirurgisch hergestellten Durchgang zwischen Blase und Vagina, der im 19. Jahrhundert eine kata strophale Komplikation bei Geburten darstellte. Von 1845 bis 1849 führte Sims grausame Experimente an versklavten und absichtlich nicht betäubten Frauen durch, bis er eine chirurgische Technik zur erfolgreichen Operation der Fistel entwickelte. Red Rack of Those Ravaged and Unconsenting (2018) entstand im Nachdenken über diese spezifischen entmenschlichenden Verfahren von Sims. In der Zusammenführung der drei Arbeiten stellt die Ausstellung Steal, Kill and Destroy: A Thief Who Intended Them Maximum Harmden Versuch dar die Erniedrigung des schwarzen Körpers und die tatsächlich gelebte Erfahrung schwarzer Menschen nicht als eine universelle menschliche Bedingung zu begreifen, sondern die durchdringenden faktischen Ursachen dieser Traumata aufzuzeigen. Gleichzeitig unternimmt Garner eine Revision der Kunstgeschichte indem sie gegen die lange Zeit verharmloste und glorifizierte Darstellung weißer Täter arbeitet. Kuratiert von Cathrin Mayer Doreen Garner *1986 Philadelphia, lebt in New York studierte an der Tyler School of Art an der Tempel University in Philadelphia und an der Rhode Island School of Design in Providence. Die Arbeiten von Garner wurden unter anderem im MoMA PS1, New York; The National Museum of African American History, Washington und Pioneer Works, New York präsentiert. Garner hatte Residenzen und Stipendien bei Recess Art, New York; dem International Studio and Curatorial Program, Socrates Sculpture Park, New York; Pioneer Works, New York; und der Skowhegan School of Painting and Sculpture, Madison. Sie ist eine lizenzierte Tattoo-Künstlerin.


Doreen Garner 


Cathrin Mayer 
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posted 14. Sep 2021

steirischer herbst ’21

09. Sep 202110. Oct 2021
Neue Festivaldaten für den steirischen herbst ’21: 9.9.-10.10.21 Der steirische herbst gibt neue Daten für seine 54. Ausgabe bekannt: Das Festival findet heuer von 9.9.–10.10. statt, und damit um eine Woche verlängert und zwei Wochen vorverlegt. Grund für die adaptierte Festivallaufzeit ist die zu diesem Zeitpunkt noch immer nicht absehbare epidemiologische Situation im Herbst und die damit einhergehenden Maßnahmen zur Eindämmung der Pandemie im kommenden September und Oktober. Daher erscheinen Formate unter freiem Himmel für den steirischen herbst ’21 produktionssicherer – und folglich die Frage der Wetterfestigkeit entscheidend. Intendantin und Chefkuratorin Ekaterina Degot: Für die Festivalplanungen 2021 sehen wir uns mit fast denselben Fragen und Herausforderungen konfrontiert wie letztes Jahr. Mit Paranoia TV haben wir 2020 eine erfolgreiche und zeitgemäße Antwort auf die Pandemie gefunden. Eine simple Wiederholung dieses Konzepts kommt für uns nicht infrage, denn die Parameter und Umstände haben sich nach über einem Jahr Pandemie verändert, und das beeinflusst natürlich, was die Menschen bewegt. Außerdem liegt es in der DNA des Festivals, sich immer wieder neu zu erfinden. Die Verschiebung der Festivallaufzeit ist in der Geschichte des steirischen herbst nichts Ungewöhnliches. Auch vergangene Ausgaben haben immer wieder damit experimentiert. Die Pandemie zwingt uns nun erneut zum Umdenken in dieser Beziehung. Das Konzept für den steirischen herbst ’21 und teilnehmende Künstler:innen werden im Juni bekannt gegeben. Als Festivals im Festival finden das ORF musikprotokoll und Out of Joint, das Literaturfestival in Kooperation mit dem Literaturhaus Graz, natürlich ebenfalls während der adaptierten Laufzeit statt.
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posted 13. Sep 2021


02. Sep 202130. Oct 2021
MONICA BONVICINI. STAGECAGE Eröffnung: 1. September 2021, 19 Uhr Die Künstlerin ist bei der Eröffnung anwesend. Ausstellungsdauer: 2. Sept. - 30. Okt. 2021 Wien, 12. Juli 2021 ".... Um 1450 vergleicht der italienische Bildhauer, Ingenieur, Architekt und Architektur-theoretiker Filarete (eigentlich Antonio di Pietro Averlino, * um 1400 † um 1469) den Architekten mit einer Mutter, die ein Kind – das Gebäude – empfängt und zur Welt bringt. ‚Wenn diese Geburt vollendet ist, d.h. wenn er in Holz einen kleinen Reliefentwurf der endgültigen Form gemacht hat, gemessen und proportioniert für das fertige Gebäude, zeigt er ihn dem Vater.‘ In dieser Schöpfungsfabel wird der ‚Vater‘ als Mäzen dargestellt, und wie Platons Demiurg oder Handwerker erschafft der Architekt nicht ein komplettes Gebäude, sondern sein Modell in maßstabsgetreuem Relief." Monica Bonvicini Der Titel STAGECAGE von Monica Bonvicinis erster Einzelausstellung in der Galerie Krinzinger bezieht sich auf eine Ausstellung von architektonischen Bühnenmodellen an der Columbia University. Die gesprühten Zeichnungen von Never Tire (2020) sowie die großformatige Installation Be Your Mirror (2020) oder die Skulptur Stagecage (2021) sind Reflexion und Fortsetzung von Bonvicinis Beschäftigung und Erforschung der Etablierung des privaten Raums im Allgemeinen und seiner Diskrepanzen, wie Isolation, ausgrenzende Dynamik, Enttäuschung und das Aufkommen reaktionärer Gefühle. Die architektonische Installation As Walls keep Shifting aus dem Jahr 2019 findet ihren Widerhall in den modellhaften Skulpturen, die norditalienische Sozialbauten nachbilden, jedoch setzt Bonvicini diese nicht in Reih und Glied, sondern ordnet sie übereinander an. Das Bild, das sich daraus ergibt, ähnelt einer einstürzenden Struktur. Zusammengehalten durch Klammern und Ledergurte erzeugen sie ein bedrohliches und beängstigendes Narrativ innerhalb der perfektionistischen Modelle. Sie verdeutlichen Monica Bonvicinis künstlerische Auseinander-setzung mit Architektur und der ihr innewohnenden Beziehung zu Geschichte, Erinnerung und Machtausübung. Die Skulpturen auf Spiegeltischen sind Bühne und Inszenierung zugleich, sie untersuchen die Verschränkung von Orts- und Sinnstiftung. Bonvicini nimmt den Akt des "Hausbauens" als künstlerische Übung und füllt ihn mit feministischen Wünschen und humorvollen Phantasien auf, wobei sie die Formen und Konzepte ständig verschiebt. Die kahle Beschaffenheit der Struktur offenbart sowohl den Anfang als auch das Ende der Architektur; sowohl die metaphorische Konstruktion aller Gebäude, als häusliche, habituelle und sozial regulierende Räume, als auch die Überreste, die sichtbar werden, wenn Häuser durch sozioökonomischen Ruin, Waldbrände oder andere Naturkatastrophen, die durch den Klimawandel verstärkt werden, dem Verfall überlassen werden, wie in Bonvicinis Serie von Schwarz-Weiß-Zeichnungen Hurricanes and Other catastrophes (2008). Ihre Recherche materialisiert sich in der ortsspezifischen Arbeit Be Your Mirror, bei der die Architektur der Galerie als Ausgangspunkt dient, um über ihre eigene Funktion zu reflektieren. Die Verführung durch Täuschung, die die Kunst erleidet, veranschaulicht durch die halbverspiegelte Oberfläche der 20 Aluminiumplatten, die ansonsten unsauber und nebelig sind. Be Your Mirror reflektiert durch Handarbeit ein klares Bild der GaleriebesucherInnen und erinnert uns daran, dass alles, was glänzt, das Produkt harter, kontinuierlicher Arbeit und Pflege ist. Ob im Kontext emotionaler Arbeit, wie in der Serie NEVER TIRE, oder durch die historisch nicht anerkannte Arbeit von Frauen mit The Yellow Wallpaper (2021) präsentiert die Schau den BesucherInnen vertraute Totems aus Design und Architektur, um die Beziehung zwischen Design, Arbeit und gebauter Umgebung zu problematisieren. Dies wird in Pendant (Guilt) #2 (2020). greifbar, wo die Ästhetik von öffentlichen Räumen, Garderoben und Umkleidekabinen genutzt wird – jene flüchtigen Vorzimmer, die wir jeden Tag unbewusst durchschreiten, unheimlich und volatil, versinnbildlicht durch das Wort GUILT. Im Zentrum der Einzelpräsentation steht die Neonleuchtkraft von Joy, Power, Humor & Resistance (2020), die wie ein kommerzielles Werbeschild für die positiven Dimensionen von Arbeit wirbt – für eine ArbeiterInnenschaft, die sich zusammenschließen kann, um sich gegen kapitalistische Unterdrückung zu wehren. MONICA BONVICINI (geb. 1965 in Venedig, Italien) Ihre vielseitige Praxis, die das Verhältnis von Architektur, Macht, Geschlecht, Raum, Überwachung und Kontrolle untersucht, wird in Arbeiten umgesetzt, die den Sinn des Kunstmachens, die Mehrdeutigkeit der Sprache und die Grenzen und Möglichkeiten der Freiheit hinterfragen. Monica Bonvicini wurde vielfach ausgezeichnet, u.a. mit dem Goldenen Löwen der Biennale di Venezia (1999), dem Preis der Nationalgalerie für junge Kunst, verliehen von den Staatlichen Museen zu Berlin (2005), dem Rolandpreis für Kunst im öffentlichen Raum der Stiftung Bremen (2013), dem Hans Platschek Preis für Kunst und Schrift, Deutschland (2019), dem Oskar Kokoschka Preis, Österreich (2020). Ihre Arbeiten waren auf vielen bedeutenden Biennalen zu sehen, darunter in Berlin (1998, 2004, 2014), Istanbul (2003, 2017), Gwangju (2006), New Orleans (2008) und Venedig (1999, 2001, 2005, 2011, 2015) sowie auf der La TriennaIe Paris (2012); Einzelausstellungen u.a. Palais de Tokyo, Paris (2002), Modern Art Oxford, England (UK) (2003), Secession, Wien (2003), Staedtisches Museum Abteiberg (2005, 2012), Sculpture Center (2007), The Art Institute of Chicago (2009), Kunstmuseum Basel (2009), Frac des Pays de la Loire, Carquefou (FR) (2009), Kunsthalle Fridericianum, Kassel (2011), Centro de Arte Contemporaneo de Malága (ES) (2011), Deichtorhallen Hamburg (2012), BALTIC Center for Contemporary Art, Gateshead, England (UK) (2016), Berlinische Galerie (2017), Belvedere 21, Wien (2019) und Kunsthalle Bielefeld (2020). Permanente Skulpturen im öffentlichen Raum RUN (2012) im Queen Elizabeth Olympic Park, London, Hun ligger/She lies (2013) im Hafenbecken von Oslo vor dem Opernhaus und Stairway to Hell (2003) im Istanbul Modern. Monica Bonvicini lebt und arbeitet in Berlin.
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posted 12. Sep 2021

Charlotte Posenenske - from B to E and more

11. Sep 202128. May 2022
opening: 11. Sep 2021 11:00 am
11.09.2021 – 28.05.2022 Eröffnung: 11.09.2021, 11:00 **Charlotte Posenenske from B to E and more** curated by Vincenzo de Bellis Am 11. September 2021 eröffnet in der Antonio Dalle Nogare Stiftung die erste italienische Ausstellung von Charlotte Posenenske, kuratiert von Vincenzo de Bellis. Charlotte Posenenske (1930-1985) gehört zu den international renommiertesten Vertreterinnen der deutschen Minimal Art Bewegung und arbeitete hauptsächlich als Bildhauerin. Ihre Skulpturen erhielten sowohl in Deutschland als auch weltweit große Anerkennung bis sich die Künstlerin 1968 dazu entschied, sich gänzlich der Soziologie zu widmen. From B to E and more ist Posenenskes erste Retrospektive in Italien und widmet sich der Entwicklung der künstlerischen Praxis der früh verstorbenen Künstlerin. Der Schwerpunkt der Ausstellung liegt auf einer Reihe von Werken, welche am bekanntesten sind und allesamt in nicht mehr als einem Jahr entstanden sind. Ihre Arbeit zeichnet sich durch ihre radikal offene Art aus: durch Beharren auf den Konzepten der Wiederholung und der industriellen Produktion entwickelte Posenenske eine Form des Minimalismus, der sich im Gegensatz zu ihren amerikanischen Zeitgenossen mit den sozioökonomischen und politischen Anliegen der 68er auseinandersetzte, um den Status quo des Kunstmarktes zu überdenken und bereits etablierte kulturelle Hierarchien zurückzuweisen. In Jahren von Pandemie und sozialer Proteste, welche aus der Not und der immer wachsenden Sorge über die wirtschaftliche Polarisierung hervorgehen, zeigt die Antonio Dalle Nogare Stiftung Charlotte Posenenske: from B to E and more, mit dem Ziel, eine notwendige Debatte über die Dynamiken zu eröffnen, welche die wirtschaftlichen Strukturen der Welt und insbesondere das zeitgenössische Kunstsystem bestimmen. Die Debatte entsteht anhand die Arbeit einer Künstlerin, welche sich bereits vor über 50 Jahren mit diesen Themen beschäftigt hat, und bezeugt, wie wir trotz des Fortschritts unserer Zivilisation zyklisch mit denselben Anliegen konfrontiert werden, auch wenn sie durch Ereignisse ganz anderer Natur hervorgerufen werden.
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posted 11. Sep 2021

Tim Etchells | Let it come, Let it come: The time we can love

11. Sep 202126. Dec 2021
Tim Etchells | Let it come, Let it come: The time we can love 11. Sept. - 26. Dez. 2021 Tim Etchells (* 1962, Stevenage, UK) ist ein englischer Theaterautor und Performer, Regisseur, Schriftsteller und Lichtkünstler. Er arbeitet in verschiedenen Kontexten und tritt besonders als Leiter des 1984 gegründeten Sheffielder Performance Kollektivs Forced Entertainment in Erscheinung. In den letzten Jahren entwickelte Etchells zahlreiche Arbeiten aus Neon- und LED-Textskulpturen, die weltweit im öffentlichen Raum gezeigt wurden. Dauerhafte Installationen von Tim Etchells findet man in Weston-super-Mare (2010), dem Künstlerhaus Mousonturm in Frankfurt (2012), der Hemdenfabrik Rosemount in Derry-Londonderry, Nordirland (2013) und Lissabon (2014). Tim Etchells’ Projekt für die Fassade der Kestner Gesellschaft wird eine Botschaft der Hoffnung und der Widerstandsfähigkeit vermitteln, die in diesen herausfordernden Zeiten so wichtig ist. Tim Etchells arbeitete in der Vergangenheit mit vielen bildenden Künstler*innen, Choreograph*innen und Fotograf*innen, unter anderem mit Meg Stuart, Elmgreen & Dragset und Vlatka Horvat. Derzeit ist er Professor für Performance & Writing an der Lancaster University, UK. Eines seiner jüngsten Projekte ist „Seen from Here: Writing in the Lockdown” – eine Sammlung literarischer Texte von verschiedenen Schriftsteller*innen, Performancer*innen und Künstler*innen aus Großbritannien, die im Frühjahr 2020 entstanden sind. Tim Etchells lebt in Sheffield, UK und in New York, USA. Kurator: Adam Budak


Tim Etchells 


Adam Budak 
Kestner Gesellschaft, Hannover

Kestner Gesellschaft | Goseriede 11
30159 Hannover

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posted 10. Sep 2021

Michaela Eichwald - Dieter Krieg-Preis

01. Dec 202012. Sep 2021
1 December 2020 – 12 September 2021 **Michaela Eichwald** Dieter Krieg-Preis "Allen Malern herzlichen Dank" Preisverleihung: Am 10. September findet im Lenbachhaus die feierliche Verleihung des Dieter Krieg-Preises statt. Es sprechen: Matthias Mühling, Direktor Lenbachhaus Stephanie Weber, Kuratorin für Gegenwartskunst Christiane Friese, Vorstand der Stiftung Dieter Krieg * Wie sich der Malerei malend ein Schnippchen schlagen lässt, ist eine der kniffligeren Fragen der Kunst. Das Rheinland der 1980er und 1990er Jahre – dort studierte Michaela Eichwald und begann ihre künstlerische Laufbahn – ist bekannt für eine Generation von Künstler*innen, die diese Frage frontal verhandelte. Damit einher ging eine Formulierung des künstlerischen Subjekts als Witzfigur, die ihr pathetisches Scheitern angesichts der Kunstgeschichte und der Warenförmigkeit zeitgenössischer Kunstproduktion selbstironisch, und im Werk sichtbar, ins Spiel brachte. Die Arbeit dieser Vorgängergeneration ist für Eichwald keineswegs belanglos. Doch tritt in ihren Werken kein selbstbezügliches Künstlerinnen-Ich auf den Plan, noch wird die kompromittierte Rolle der Malerei in hochtourig kommerzialisierten Zeiten erkennbar auf der Motivebene verhandelt. Vielmehr tragen sich die "grundsätzlichen und unerschöpflichen Probleme der Kunst" (Eichwald) in ihren Werken zwischen Material und Form aus. Für ihre Malereien verwendet die Künstlerin bevorzugt synthetische Trägermaterialien wie Kunstleder und PVC. Statt wie die klassische Leinwand als neutraler Hintergrund zu dienen, auf dem sich das malerische Ereignis ungestört Bahn brechen kann, stehen das Straußenlederimitat in Bürobeige oder der Autohimmelstoff mit Glitzereinschlüssen diesem Ereignis gewissermaßen von vornherein im Weg. Zu dieser erkennbar zeitgenössischen Warenästhetik der Stoffe verhält sich Eichwalds meist ungegenständliche Formensprache mal anschmiegsam, mal abstoßend, so wie es ihre verschiedenen Malmedien tun (Acryl, Lack, Wachs, Aquarell, etc). Die Künstlerin feilt an Methoden, die auch das fertige Werk, sei es ein Gemälde, ein Text, eine Skulptur oder Fotografie, nicht als unerschütterliche Behauptung erscheinen lassen: "Mehr Unabgesichertes versuchsweise äußern. Mehr Leben, mehr Ausdruck, mehr Unverständlichkeit", beschreibt sie ihren Ansatz in einem Interview. Ein produktives Streunern zwischen den Disziplinen – Schreiben, Malen, Fotografieren – zeichnet ihre Arbeit aus. Augenfällig wird dies unter anderem in ihren ungewöhnlichen und beredten Werktiteln, die aus einer Vielzahl an Quellen stammen – von mittelalterlicher Mystik über zeitgenössische Lyrik und bürokratische Stilblüte bis hin zur dadaistischen Wortkette. Im Lenbachhaus sind Gemälde und Skulpturen der vergangenen drei Jahre zu sehen. Das Gros der Werke ist eigens für die Ausstellung entstanden. Michaela Eichwald ist 1967 in Gummersbach geboren. Ab 1987 studierte sie in Köln Philosophie, Geschichte, Kunstgeschichte und deutsche Philologie. Ihre ersten Texte veröffentlichte sie in den 1990er Jahren, noch bevor sie zu malen begann. Monografische Ausstellungen fanden statt, u.a. am Palais de Tokyo in Paris, dem Kunstverein Schwerin und dem Kunstverein Aachen. Das Walker Art Center in Minneapolis zeigt bis Mitte Mai 2021 eine Einzelpräsentation der Künstlerin. Kuratiert von Matthias Mühling und Stephanie Weber Die Ausstellung ist entstanden in Kooperation mit der Kunsthalle Basel Ausstellungsdaten in der Kunsthalle Basel: 1. Oktober 2021 bis 2. Januar 2022
Lenbachhaus, München

Luisenstraße 33
80333 Munich

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posted 09. Sep 2021


09. Sep 202112. Sep 2021
ART PARIS 23rd edition Grand Palais Ephémère - Champs de Mars, Paris 09.09.2021 - 12.09.2021 The First Modern and Contemporary Art Fair to Take Up Residence in the Grand Palais Éphémère on the Champ-de-Mars After being the first art fair in the world to open its doors in September 2020 after lockdown restrictions ended, Art Paris will also be the first art fair to take up residence in the Grand Palais Éphémère on the Champ-de-Mars from 9 to 12 September 2021. Designed by reknown architect Jean-Michel Wilmotte, this spectacular temporary structure which is situated in front of the École Militaire and close to the Eiffel Tower, will host events scheduled at the Grand Palais until the building reopens for the Olympic Games in 2024. Art Paris has established itself a major art fair for modern and contemporary art. This 23rd edition will bring together 141 galleries from over twenty countries, displaying art spanning from post-war to the contemporary period. Whilst Art Paris is a place for discovery, its distinctive feature is a special emphasis on the European scene combined with the exploration of new horizons of international creative hubs in Asia, Africa, the Middle East and Latin America. Regional and cosmopolitan, the 2021 edition counts 39% of new participants and is marked by the arrival of leading international galleries. Focusing on discovering or rediscovering artists, Art Paris encourages the presentation of monographic exhibitions and supports young galleries and emerging artists in the "Promises" sector. In Portraiture and Figuration. A Focus on the French Scene, guest curator Hervé Mikaeloff shares his perspective on the French scene by means of a selection of 20 artists from the exhibiting galleries. Finally, the "In Paris during Art Paris" VIP programme will showcase the very best cultural events the City of Light has to offer as Paris, a world art capital, embarks on a period of significant transformations.
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