daily recommended exhibitions

posted 29. Nov 2021

Hurvin Anderson. Reverb

12. Oct 202104. Dec 2021
12 October - 4 December 2021 **Hurvin Anderson. Reverb** Over the last three years Hurvin Anderson has focused his attention on a particular subject – or ‘image’ as he refers to it – a hotel complex on the north coast of Jamaica which he visited on a trip to the country of his heritage. Reverb, spanning both spaces at Thomas Dane Gallery is the first time the artist will present works exclusively from this series, and offers a unique insight into one of Anderson’s most arresting cycles of paintings to date. As often with Anderson the legibility and clarity of the scenes he presents is left ambiguous and open-ended. Is the hotel derelict and slowly being taken over by vegetation, or is paradisiac nature losing the battle against the concrete ruins? Anderson likes to entertain and draw upon that ambiguity: he calls it his ‘no-man’s land – where structure and clarity intermingle with looseness and fluidity. Anderson almost never sketches while in the landscape, but instead takes photographs and works from these as well as from memory. Whether he focuses his attention on more intimate interior scenes of barbershops, or more elegiac landscapes, his methods and thinking are the same. He will study every plant, analyse every architectural pattern, research every brand of hair product, until he understands how they are made, how they are structured, and how they can be depicted. This method of ‘rehearsing’ which Anderson shares with other painters, has perhaps never been as apparent as in his ‘Jungle Garden’ paintings - a focus in itself within the Jamaican Hotel Series. Here the process becomes even more deeply analytical. It is not so much that he wants to learn a painting and make more of them, but rather, make the picture again and again, in order to know it more and more. Anderson has worked throughout his career on a singularly small number of such images. As if he was experimenting with a musical note or chord - tweaking and amplifying it, scrutinising the ripple effects of the reverbs and trebles. He very similarly and painstakingly works and reworks his images using a variety of methods and surfaces, framing and reframing the composition, saturating it in contrasting tonality and layering and erasing elements at ease. For instance, removing a palm tree which would have occupied the very centre of a picture, or a waterfall which flows in the midst of the building blocks. These very much still exist but as ghosts or mental images, giving the compositions their cryptic ethereal originality. Sometimes ghosts quite literally (re)appear and populate the pictures, such as in Grace Jones (2020). Here the addition of memory, or perhaps an element of make-believe, brings forth an allusion to Marcel Duchamp or Gerhard Richter. Commentaries in Anderson’s work, whether political or societal are always elegantly muted. In Reverb, an exhibition that seems to close a personal chapter and leave the door ajar onto another, Anderson comes the closest he ever has to an actual critique. On a certain loss of innocence, an impending ecological meltdown, and the consequences and excess of tourism and exploitation of nature. Beneath all this it also seems that Anderson alludes to a state of mental shift and musical drift, and perhaps, almost unconsciously, to the displacement of his family, global migrations and diaspora. Hurvin Anderson was born in 1965 in Birmingham, where his Jamaican parents settled after immigrating to England. The origin of Anderson's work often stems from his experience growing up within Birmingham's African-Caribbean community and his time spent living in Trinidad as an artist-in-residence. Distilled from memory, his work investigates notions of identity, space and community, exploring the complexities of cultural influences and social histories. Anderson’s compositions exist like a fleeting moment, visually characterised by a sense of temporality often depicted in his paintings. Working across a range of mediums including photography, sculpture, drawing though predominately painting, Anderson’s work is steeped in lush, vivid colours of the Caribbean and contrasted with urban, English landscapes. It is this ambivalent relationship that most effectively disrupts binaries of place, revealing how Anderson negotiates these cultural influences by reimagining his surroundings. * Selected solo shows include: Hurvin Anderson: Anywhere but Nowhere, The Arts Club of Chicago, Chicago IL (2021), They Have a Mind of Their Own, Rat Hole Gallery, Tokyo, Japan (2019); Hurvin Anderson: Dub Versions, New Art Exchange, Nottingham, England (2016); Hurvin Anderson: Backdrop, Contemporary Art Museum, St. Louis MI (2015); Hurvin Anderson: New Works, Thomas Dane Gallery, London, England (2013); Hurvin Anderson: reporting back, Ikon Gallery, Birmingham, England (2013); Peter’s Series 2007-09, Studio Museum, Harlem, New York NY (2009); Art Now: Hurvin Anderson, Tate Modern, London, England (2009). In 2017, Hurvin Anderson was nominated for the Turner Prize.
THOMAS DANE GALLERY London

3 + 11 Duke Street, St James’s
GB-SW1Y 6BN London

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posted 28. Nov 2021

Adam Pendleton. Who Is Queen?

18. Sep 202130. Jan 2022
18.09.2021 - 30.01.2022 **Adam Pendleton. Who Is Queen?** Adam Pendleton: Who Is Queen? transforms MoMA’s Marron Family Atrium into a dynamic arena exploring Blackness, abstraction, and the avant-garde. In his monumental floor-to-ceiling installation, Adam Pendleton has created a spatial collage of text, image, and sound—a total work of art for the 21st century. Who Is Queen? is anchored by three five-story black scaffold towers that resemble the balloon framing typical of American homes and that serve as supports for paintings, drawings, a textile work, sculptures, moving images, and a sound piece. In the paintings, Pendleton creates layered fields of unresolved text and gestural marks, built up from spray-painted and brushed originals that have been photographed, photocopied, and enlarged for screenprinting. The drawings feature sketches and visual “notes,” and, at times, reproductions from the artist’s library of books. Pendleton’s visual language challenges legibility, continuously writing and overwriting itself. Pendleton’s latest video portrait, So We Moved: A Portrait of Jack Halberstam screens at 12:30 and 4:30 p.m. daily, alternating with two moving-image works that function as notes on the embattled Robert E. Lee monument in Richmond, Virginia, and Resurrection City, a 1968 ad-hoc city set up on the national mall in Washington, DC. Resurrection City has played an influential role in Pendleton’s wider investigation of alternative structures and social formations. Finally, a sound collage anchored by a reading by the poet Amiri Baraka, a recording by composer Hahn Rowe, and a recording of a Black Lives Matter demonstration in Manhattan is interwoven with musical fragments from a range of composers and musicians. Dialogues organized by Pendleton featuring pairs of artists, writers, and thinkers will be released online monthly, and incorporated into the sound installation, which shifts and changes over the course of the exhibition. Challenging the traditional role of the museum as a repository for a fixed history, Who Is Queen? collages multiple voices and cultural touch points to generate new relationships between traditionally incommensurable subjects. As the artist states, the work “is not black or white. It articulates the ways in which we simultaneously possess and are possessed by contradictory ideals and ideas.” Organized by Stuart Comer, The Lonti Ebers Chief Curator, with Danielle A. Jackson, former Curatorial Assistant, and Gee Wesley, Curatorial Assistant, with the support of Veronika Molnar, Intern, Department of Media and Performance. The audio series for Adam Pendleton: Who Is Queen? is produced for MoMA by Lizzie Gorfaine, Producer, and Kate Scherer, Manager, with the support of Olivia Rousey, Intern, Performance and Live Programs
MOMA - The Museum of Modern Art, New York

MOMA | 11 West 53 Street
NY-10019 New York

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posted 27. Nov 2021

Hiwa K: Do you remember what you are burning?

07. Oct 202113. Feb 2022
Hiwa K: Do you remember what you are burning? 07 October 2021 - 13 February 2022 Hiwa K: Do you remember what you are burning? is conceived as a three-venue collaboration by Jameel Arts Centre, Dubai with Hugh Lane Gallery, Dublin, The Power Plant Contemporary Art Gallery, Toronto and the artist Hiwa K. Opening on 7th October 2021 in the Hugh Lane Gallery, Do you remember what you are burning? will be the first solo museum exhibition by Iraqi-Kurdish artist Hiwa K in Ireland. The exhibition opens on the 15th December 2020 in the first venue, the Jameel Arts Centre. We wish Hiwa K and the Centre every success with it.

artist

Hiwa K 
The Hugh Lane, Dublin

Dublin City Gallery | Charlemont House, Parnell Square North
1 Dublin

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posted 26. Nov 2021

Ich, Max Liebermann! Ein europäischer Künstler

08. Oct 202109. Jan 2022
Ich, Max Liebermann! Ein europäischer Künstler 8. Oktober 2021 bis 9. Januar 2022 Das Hessische Landesmuseum Darmstadt präsentiert eine umfassende Ausstellung mit herausragenden und zum Teil nie öffentlich gezeigten Leihgaben aus Privatbesitz zu einem der beim Publikum beliebtesten Künstler: Max Liebermann (20. Juli 1847 - 8. Februar 1935). Kaum ein Künstler seiner Zeit ist in deutschen Museen und Ausstellungshäusern so allgegenwärtig wie Max Liebermann. Seine Rolle als Wegbereiter der Moderne und wichtigster Vertreter des deutschen Impressionismus ist oft beschrieben worden. Kaum Beachtung fand hingegen, dass es der internationale Fokus seines Schaffens und seine damit verbundene europaweite Vernetzung waren, die Liebermann zum bedeutendsten Erneuerer der deutschen Kunst im 19. Jahrhundert werden ließen. Liebermann war ein bestens vernetzter Maler. Er feierte in Paris seine ersten Ausstellungserfolge, wurde von Künstlern wie Vincent van Gogh und Edgar Degas bewundert und war mit dem schwedischen Maler Anders Zorn und französischen Kollegen Jules Bastien-Lepage befreundet. Durch sein internationales Netzwerk und den starken Einfluss der französischen wie holländischen Kunst manifestieren sich in seinem Werk zentrale Themen der zweiten Hälfte des 19. Jahrhunderts: Die Fragen nach dem Verhältnis der eigenen Kultur zu anderen, nach der kosmopolitischen Integrationskraft von Kunst und Kultur sowie nach der Stellung jüdischer Künstler in der Gesellschaft. Gleichzeitig lässt sich an Liebermanns Werkentwicklung das moderne Phänomen einer international orientierten fortschrittlichen Kunst erkennen. Sie wurde von reaktionären Kritikern als Bedrohung der nationalen Identität zurückgewiesen – Aspekte, die mit neuer Vehemenz aktuell sind. Diese Lücke möchte die große Schau »Ich, Max Liebermann! Ein europäischer Künstler« anhand von über 100 Gemälden und Arbeiten auf Papier schließen. Sie betrachtet den Maler im internationalen Kontext und zeichnet seine vielschichtigen Verbindungen zu den verschiedenen künstlerischen Zentren in Europa nach. Liebermanns künstlerisches Denken durchlief eine Metamorphose, die von der Auseinandersetzung mit den Alten Meistern hin zur freien Landschaftsmalerei, vom Realismus über den Impressionismus bis hin zur beginnenden Moderne führte. Die Gegenüberstellung mit Arbeiten seiner großen französischen und holländischen Vorbilder – darunter Jean-François Millet, Camille Corot, Rembrandt van Rijn und Frans Hals – bietet in dieser Ausstellung die Gelegenheit, ein umfassenderes Verständnis für die Voraussetzungen der Einführung der modernen Malerei in Deutschland zu erlangen. Die Ausstellung entsteht als Kooperationsprojekt des Hessischen Landesmuseums Darmstadt mit dem Kunstpalast Düsseldorf . Die erste Station in Darmstadt steht unter der kuratorischen Leitung von Dr. Martin Faass, Direktor des Hessischen Landesmuseums Darmstadt und Gründungsdirektor der Liebermann Villa am Wannsee. Faass zählt zu den herausragendsten Kennern von Liebermanns Werk. Durch seine langjährige Expertise ist er prädestiniert das Oeuvre Liebermanns neu zu beleuchten. Kurator Dr. Martin Faass

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Martin Faass 
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posted 25. Nov 2021

NAAMA TSABAR. Perimeters

28. Nov 202117. Apr 2022
Nov 28,2021 - Apr 17,2022 **NAAMA TSABAR. Perimeters** Opening late November 2021, The Bass presents Perimeters, an exhibition of new and site-specific work by Israeli born, New York-based artist Naama Tsabar. Offering the potential for activation and performance throughout, the exhibition centers on Tsabar’s most recent series, Inversions, presenting new iterations of four bodies of work that Tsabar has explored from 2006 to the present. Naama Tsabar works at the intersection of architecture and music, showing viewers how sound moves both through and beyond walls and buildings. She often makes large-scale collaborative performances, sculptures and installations that can be played by musicians and visitors alike. For Perimeters, Tsabar will fuse elements from sculpture, music, performance and architecture and transforms the museum itself into a playable instrument Tsabar’s interactive works expose hidden spaces and systems, reconceive normative gendered narratives and shift the viewing experience from passive observation to one of active participation. Using sound holes, instrument parts and microphones, Tsabar draws attention to the muted and unseen, propagating sound through space and sculptural form. Exploring the relationships between sculpture and instrument, as well as form and sound, Tsabar’s work lingers on the intimate, sensual and corporeal potentials within these transitional states. By collaborating with local communities of female-identifying and gender non-conforming performers, Tsabar contributes to feminist and queer discourses through movement, sound and space. The exhibition begins with artwork created through destruction. Citing iconic moments in rock performance history, as well as Auto-Destructive art, Tsabar’s Melody of Certain Damage works are made by smashing guitars in her studio, documenting where the pieces fall and meticulously creating new string configurations for the fragmented instruments. Transforming the destroyed object into a newly playable instrument, Tsabar co-opts an action that embodies the male-dominated legacy of rock and roll: the breaking of a guitar first popularized by The Who’s lead guitarist Pete Townshend. However, by dislocating the violence of the destructive act and only showing viewers the scattered fragments, Tsabar presents the remains in a reimagined form that emphasizes reconstruction and repair after trauma. A new work by Tsabar similarly gives sculptural form to acts and movement performed by the artist. The work, October 13 2019 – July 5 2021 (2021), is comprised of a pair of shoes fused with a working metronome. The shoes were worn by the artist during the fixed period of time encompassed in the title. Together, the metronome’s steady tempo and the shoes’ visible wear embody what the artist describes as, “a diary of time and body movement.” The even beat of the metronome recalls a clock, memorializing a record of the artist’s movements during a specific time as a type of portrait. Another installation is Twilight (Gaffer Wall), a wall specific installation first exhibited by Tsabar in 2006, and then again in 2017. The work is a curved wall covered in strips of gaffer tape, the same tape used to mask and stabilize cables on stages and productions around the world. The utilitarian material, often associated with unseen backstage labor, moves from its functionally hidden location on the floor to a wall, where it becomes the focus as a sort of nocturnal night veil and transitional space. Tsabar’s Inversions series uses the intermediate spaces within and between walls and architecture to reference sound holes and the craftsmanship of instrument building. Acoustic studies have proven that the sonic power of an instrument resonates strongest at the perimeters of its opening, known as a sound hole. This sonic phenomenon led to the design evolution of musical instruments, like the violin and guitar, while also leading to the exhibition’s title and Tsabar’s continued experimentation with sound-making structures. Embedded into walls, each work opens a space behind the wall that can be activated by both museum-goers and performers. Depending on the work, activation comes through strumming hidden string elements, singing or the penetration and movement behind the walls to produce a sonic outcome. Tsabar’s most recent Inversions’ installations are activated by motion, rather than touch. The sonic vocabulary emanating from these structures are derived from female vocalists, asserting the power and beauty of the female voice within the exhibition space. The exhibition uses the pervasiveness of sound and the acoustic effect of perimeters to suggest strength at the periphery rather than at the center, a politically-charged and timely concept. Perimeters encompasses works that embody polarities: destruction/creation; absence/void, presence/occupation and singularity/collectivity. Tsabar’s sensuous works require a certain intimacy, where visitors and performers must reach into the wall or crouch on the floor to interact with the sculptural and sonic forms, at once creating a personal experience, while also becoming part of a collective and symphonic experience as additional viewers activate the other works in the installation. Tsabar’s works probe the power structures inherent to museums, symbolically breaking through institutional barriers for participation by both artists and visitors by inviting women and gender non-conforming performers and visitors to permeate and penetrate the museum’s architectural structures. Together, these gestures subvert and breakdown historical efforts to control behaviors and prioritize certain populations while excluding others, all of which have been tenets of museums since their inception. ABOUT THE ARTIST. Naama Tsabar (b. 1982, Israel) lives and works in New York City. She received her MFA from Columbia University in 2010. Solo exhibitions and performances have been presented at the Solomon R. Guggenheim Museum (New York), Museum of Art and Design (New York), The High Line Art (New York), Nasher Museum (North Carolina), Kunsthaus Baselland (Basel, Switzerland), Palais De Tokyo (Paris, France), Prospect New Orleans (NOLA), Tel Aviv Museum of Art (Israel), The Herzliya Museum for Contemporary Art (Israel), MARTE-C (El Salvador), CCA Tel Aviv (Israel), Faena Buenos Aires (Argentina), Frieze Projects New York, Kasmin Gallery (New York), Dvir Gallery (Israel and Brussels), Spinello Projects (Miami) Shulamit Nazarian (Los Angeles). Selected group exhibitions include The Andy Warhol Museum (Pittsburgh), The Jewish Museum of Belgium, Ballroom Marfa, Schirn Kunsthalle in Frankfurt, Elevation 1049 Gstaad (Switzerland), TM Triennale (Hasselt Genk, Belgium), ‘Greater New York’ 2010 at MoMA PS1 (New York), Museum Dhondt-Dhaenens (Belgium), The Bucharest Biennale for Young Artists (Romania), Hessel Museum of Art at CCS Bard (New York), Casino Luxembourg (Luxembourg), ExtraCity (Antwerp, Belgium). Tsabar’s work has been featured in publications including Artforum, Art in America, ArtReview, ARTnews, The New York Times, New York magazine, Frieze, Bomb Magazine, Art Asia Pacific, Wire, and Whitewall, among others.

artist

Naama Tsabar 
Bass Museum of Art, Miami Beach

The Bass | 2100 Collins Avenue
Florida 33139 Miami Beach

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posted 24. Nov 2021

Betye Saar: Serious Moonlight

28. Oct 202117. Apr 2022
Oct 28, 2021 – Apr 17, 2022 **Betye Saar: Serious Moonlight** ICA Miami presents a survey of rarely exhibited immersive, site-specific installations from 1980 to 1998 by American artist Betye Saar. Rooted in the artist’s critical focus on Black identity and intersectional feminism as well as the racialized and gendered connotations of found objects, Saar’s installations expand on her celebrated repertoire and offer broadened insight into ritual, spirituality, and cosmologies in relation to the African American experience and the African diaspora. Saar’s intimately scaled works of the 1960s and 1970s–poignant examinations of race and gender through assemblages of readymades and found objects–became icons of Black feminist art. In works like The Liberation of Aunt Jemima (1972), Saar altered and augmented found, commercially available objects—in this case adding a rifle and a raised fist to the familiar stereotypical commercial emblem—in order to highlight and dismantle racialized images that pervade everyday life. Audiences have rarely had the opportunity to encounter the artist’s radical installations, many of which have been recently rediscovered and will be exhibited at ICA Miami for the first time in decades. Influenced by research trips to Haiti, Mexico, and Nigeria undertaken by the artist in the 1970s, these immersive works explore concepts of ritual and community through both cultural symbols and autobiographical references. Saar’s installations combine charged objects to create rich, narrative worlds. The exhibition includes the significant installation House of Fortune (1988), an ominous scene featuring a card table, tarot cards, and Vodou flags as a meditation on spirituality. The Ritual Journey addresses traditions of death and mourning, as does the artist’s altarpiece, Wings of Morning (both 1992). In this selection of works, Saar draws from the history of the African diaspora and the African American experience to create tangible and powerful monuments that profoundly influenced artists such as David Hammons, Maren Hassinger, and Senga Nengudi. Boldly addressing questions of race and gender in her art and activism, Betye Saar (b. 1926, Los Angeles) has been a pioneer of readymade art on the West Coast and Black feminist art in the United States since the 1960s. Her revolutionary work has been exhibited in solo and group exhibitions throughout the United States and around the world, including, most recently, the retrospective “Betye Saar: Still Tickin’” at the Scottsdale Museum of Contemporary Art, Arizona, and Het Domein, Sittard, The Netherlands; the group show “We Wanted a Revolution: Black Radical Women, 1965–85” at the Brooklyn Museum, New York; and the monumental traveling group show “Soul of a Nation: Art in the Age of Black Power” at the Tate Modern, London; Crystal Bridges Museum of American Art, Bentonville, Arkansas; Brooklyn Museum; The Broad, Los Angeles; and the M. H. de Young Memorial Museum, Fine Arts Museums of San Francisco. Current exhibitions include solo presentations at the Museum of Modern Art, New York (MoMA), dedicated to her prints, and at the Los Angeles County Museum of Art (LACMA) focused on her sketchbooks and related works. Saar’s works are held in more than sixty museum collections, including the Detroit Institute of the Arts; MoMA; LACMA; Smithsonian American Art Museum, Washington, DC; Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York, among many others. The exhibition is organized by ICA Miami and curated by Stephanie Seidel, Curator.

artist

Betye Saar 
ICA Miami

ICA | 4040 NE 2nd Avenue
FL 33137 Miami

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posted 23. Nov 2021

Jahresgaben 2021

15. Nov 202131. Dec 2022
Jahresgaben 2021 "Dieses Jahr konnten wir hochkarätige Künstler:innen, die Teil unseres Programms waren oder dem Kunstverein verbunden sind, für Jahresgaben gewinnen: Esther Adam, Iván Argote, James Gregory Atkinson, FORT, Christian Freudenberger, Anys Reimann, Chris Reinecke, Jana Kerima Stolzer & Lex Rütten, Slow Reading Club, Theresa Weber Ein besonderes Highlight sind drei exklusive Seidentuch-Editionen in Zusammenarbeit mit Kerstin Brätsch, Anna Haifisch, Angharad Williams, die auch von Nichtmitgliedern erworben werden können. Wenn Sie über einzelne Arbeiten mehr erfahren möchten, nehmen Sie gerne mit uns Kontakt auf. Mit herzlichen Grüßen Rebekka Seubert (Künstlerische Leitung) & Linda Schröer (Kuratorin)"

curator

Linda Schröer 
Dortmunder Kunstverein

Dortmunder Kunstverein | Park der Partnerstädte 2 / Brinkhoffstraße 2
44137 Dortmund

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posted 22. Nov 2021

CHIOMA EBINAMA. A Spiral Shell

29. Oct 202119. Dec 2021
CHIOMA EBINAMA. A Spiral Shell 29 October – 19 December 2021 opening: Friday 29 October 2021, 11am – 6pm the artist will be present from 4 – 6pm Maureen Paley is pleased to present the first solo exhibition at the gallery by Chioma Ebinama. Chioma Ebinama (b. 1988, Maryland, USA and lives and works in Athens, Greece) is a Nigerian-American artist who is interested in how animism, mythology, and precolonial philosophies present a space to articulate a vision of freedom outside of Western social and political paradigms. Her practice is centred around work on paper, yet in her travels she has collaborated with local artists to make sculptures, textiles and wearable art. Raised in the United States by Nigerian Christian immigrants, Ebinama is drawn to the aesthetic of formalised religion for its potential to celebrate inner life. As she seeks to create new mythologies for the African Diaspora, her work is influenced by a myriad of sources, from West African cosmology to folk art of the global South, to the visual language of Western religion and Eastern spiritual traditions. Her work also reflects on gender and queer identities through a figurative language that is informed by surrealism and Igbo culture among other sources. The collision of aesthetics and presentation techniques is indicative of Ebinama’s nomadic life and in recent years as she carried her practice from Mexico, South Korea, India, Malaysia and now Greece. Thoughts on A Spiral Shell, Chioma Ebinama, 2021 ‘The title A Spiral Shell, is a surprise as there are no shells nor spirals in any of these figurative works. It refers to Italo Calvino’s short story, The Spiral, from his book Cosmocomics. I found this story about a mollusk to be a beautiful metaphor of what drives the desire to make things and how in the act of making we build a protective shell, a careful space for our own vulnerability against the "indiscriminate instability" of the external world. Most people who know my work have no idea I’ve spent the past two years living in a complete disconnect from everything familiar. In 2019 I found myself houseless and studio-less. So I decided to wing it and travel. I did a short stay in Mexico and another in London, a lonesome short visit to Athens and several months living an ascetic artist’s life sharing a bed with a friend in Seoul. Somehow, I produced a solo exhibition (Now I only believe in…love, Fortnight Institute, 2020) while living out of a suitcase. At the beginning of the pandemic, I found myself stuck in Athens, which turned out to be a sort of wellspring of good fortune. I found love and decided to stay. But I struggled to make roots. No studio to ground me and no familiar faces, I was surrounded by a language that feels alien to me. Still I produced an entire children’s book (Emile and the Field, available in Spring 2022) and another solo exhibition (mud & butterflies, Catinca Tabacaru, 2021). When I began to make A Spiral Shell, I was paralysed by the fear that I didn’t have a story, unlike my other bodies of work, I had no visions to explore. So I began inward, reflecting on what had brought me to the present and making space for how traumatising change, even change for the better, can feel. That said, work draws from everywhere. The figure in Petting a bumblebee is adorned in a wrapper decorated with a pattern taken from a Mbari sculpture, a lost tradition of Igbo culture. A Sense of Belonging, was born from the urge to make a hyper-feminine character like the pretty girls of 70s shoujo manga covers. It's something for my child self. The Empress and The Tower refer to the two tarot cards I saw before beginning what I call my life as a seed in the wind. By sampling and collaging different cultural images, I am building a collection of positive resource states (I think ‘positive resource states’ is a term used in various behavioural therapies to develop healthy coping mechanisms for trauma) in a voice that feels truly my own in the current social climate that seeks to rapidly define blackness and the feminine in a way that is easily consumed. With this honest voice, I am reminding myself of the beauty of uncertainty, as I process my personal experience of rootlessness and change.’ Recent solo exhibitions include mud & butterflies, Catinca Tabacaru, Bucharest, 2021; Now I only believe in…love, Fortnight Institute in New York, Leave the thorns and take the rose, The Breeder Gallery, Athens, 2020 and Anunu: Notes on the Divine Feminine, Boys’ Quarters Project Space, Port Harcourt, Nigeria, 2019. Selected group shows include Never Done: 100 Years of Women in Politics and Beyond, The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York, 2021 and Alien Landscape, 303 Gallery, New York. Ebinama has recently illustrated a children’s book Emile and the Field, written by Kevin Young, poetry editor of The New Yorker and director of the Smithsonian Institution National Museum of African American History. The book will be released in Spring 2022 with Make Me A World, an imprint of Penguin Random House books curated by artist Christopher Myers.
Maureen Paley, London

21 Herald Street
E2 6JT London

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posted 21. Nov 2021

Marcel Broodthaers. Industrial Poems, Open Letters

10. Sep 202109. Jan 2022
10.09.2021 - 09.01.2022 **Marcel Broodthaers. Industrial Poems, Open Letters** In his poems, Marcel Broodthaers’s (1924-1976) suggestive, freely associative language contrasts starkly with the biased language of marketing or the hard data of electronic communication being introduced at the time. The repetitive messages in standardised language are questioned in these multiples, which he also entitled ‘Industrial Poems’. Taking the popular aspects of plastic street signs, he composed enigmatic visual poems with signals, images, letters, words or punctuation, eluding direct and universal meaning. Made industrially with a technique of vacuum formed moulds, the soft contours of the characters and graphics make the printed language palpable, words and pictograms moulded into containers for ideas. He defined these works as “treating the image as word and the word as image”, a criticism of conceptual art’s utilitarian use as information of language, favouring instead its poetic dimension. “These plaques are fabricated like waffles, you know”, said Marcel Broodthaers of the plastic plaques he produced between 1968 and 1972, and which continued his work around the effects of publicity and mass media on language and visual communication. In an unprecedented exhibition, elaborated in close collaboration with the Succession Marcel Broodthaers, WIELS presents the entire series of 36 main motifs of the plaques by Broodthaers, while also highlighting further unknown versions and variations, to reveal the artist’s idiosyncratic take on seriality and the reproducible, rare artwork and image. The exhibition also features unique prototypes, as well as a large group of drawings or preparatory sketches for the plaques, all in relation to a selection of ‘Open Letters’ by the artist. These were distributed in the public arena as pamphlets by Broodthaers, while he was founding and developing the Musée d’art moderne, Département des Aigles, a personal museum of which he was the artist, director, guard and solitary visitor. It ran from 1968 to 1972, simultaneous to the production of the plastic plaques, some of which were used by the artist as publicity for his Musée. The exhibition brings together some 120 plaques, 70 drawings and documents, with prototypes and a selection of 14 'Open Letters'. A catalogue raisonné listing all the plaques, variations or prototypes is edited by Charlotte Friling, including texts by Maria Gilissen Broodthaers, Manuel Borja-Villel and Dirk Snauwaert (400 pp, 500 illustrations). Curated by Charlotte Friling and Dirk Snauwaert In close collaboration with Maria Gilissen Broodthaers and the Succession Marcel Broodthaers and in collaboration with Marie-Puck Broodthaers Display for the ‘Open Letters’ by Richard Venlet
WIELS Contemporary Art Centre, Brussels

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

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posted 20. Nov 2021

Rencontres de Bamako 2021/2022 – African Biennale of Photography

20. Nov 202120. Jan 2022
Rencontres de Bamako – African Biennale of Photography 13th edition / On Multiplicity, Difference, Becoming, and Heritage 20.11.2021 - 20.01.2022 For the 13th edition of the Bamako Encounters - African Biennale of Photography, on view at various venues in Bamako, Mali from November 20, 2021–January 20, 2022, the overarching focus lies on multiplicity, difference, becoming, and heritage. The dominant narrative in this “globalized world” is, incidentally, that of singularity—of universalism, of single identities, of singular cultures, of insular political systems. With this narrative, however, comes an illusory sense of stability and stasis; identities seem inalterable, cultures are immutable, political systems prove uneasy in the face of change. Thus, in sustaining this pervasive discourse, there has been a great loss of multiplicity, of fragmentation, of process and change, and not least of complex notions of humanity and equally complex narratives. In decentering this year’s biennale On Multiplicity, Difference, Becoming, and Heritage, General Director Cheick Diallo, Artistic Director Bonaventure Soh Bejeng Ndikung, and the curatorial team—Akinbode Akinbiyi (artist and independent curator), Meriem Berrada (Artistic Director, MACAAL, Marrakech), Tandazani Dhlakama (Assistant Curator, Zeitz MOCAA, Cape Town, South Africa), and Liz Ikiriko (artist and Assistant Curator, Art Gallery of York University, Toronto)—of the Bamako Encounters pay a powerful tribute to the spaces in between, to that which defies definition, to phases of transition, to being this and that or neither and both, to becoming, and to difference and divergence in all their shades. Accordingly, Amadou Hampâté Bâ’s statement (Aspects de la civilisation africaine, Éditions Présence Africaine, 1972) presiding over the manifestation, Maa ka Maaya ka ca a yere kono, translates to, “the persons of the person are multiple in the person.” A key tool for negotiating the processual and shifting nature of multiplicity lies in storytelling. It is the central medium through which humanity points the lens on itself and launches an attempt at self-understanding and reflection, and the breadth of answers given throughout history testifies to the congenial nature of storytelling and multiplicity. Moreover, the stories we tell not only negotiate who we are but also expose underlying currents of who we will become in the future. This is the concern lying at the heart of the 13th edition of the Bamako Encounters—the stories we tell, the multiple facets of humanity we accommodate, notions of processuality, becoming in being, embracing identities that are layered, fragmented, and divergent, and the multifarious ways of being in the world, whether enacted or imagined. It should be emphasized that this does not apply only to questions of personal identity. On the contrary, it is a bold affirmation of transformation and transition, of becoming in an emphatic sense, and is thus equally significant for state politics. It also rings true for questions of heritage/patrimony. Embracing the kaleidoscopic legacy of our multiple heritages means to open them up and liberate the term “patrimony” from its etymological roots (the Latin patrimonium means “the heritage of the father”), imagining in its place an inclusive concept of matrimony. Thus, in this 13th edition of the Bamako Encounters with the title Maa ka Maaya ka ca a yere kono, artists, curators, scholars, activists, and people of all walks of life are invited to reflect collectively on these multiplicities of being and differences, on expanding beyond the notion of a single being, and on embracing compound, layered and fragmented identities as much as layered, complex, non-linear understandings of space(s) and time(s). Read the full concept here. Special projects Retrospective exhibitions by María Magdalena Campos-Pons and Samuel Fosso, among others Open call for the 13th Rencontres de Bamako/African Biennale of Photography Deadline for submissions: May 31, 2021 The central theme of this year’s Bamako Encounters zeroes in on questions of multiplicity, processuality, transition, becoming, heritage, and difference. In arguing that present discussions of singularity tend to ossify notions of identity, culture, and politics, the curatorial team launches a powerful affirmation of that which is in between and beyond the traditional boundaries of such categories. As the main title suggests, Maa ka Maaya ka ca a yere kono: the persons of the person are multiple in the person. We invite artists to reflect on such processes of becoming, multiplicities, layered and fragmented identities, vibrant understandings of heritage/patrimony, storytelling, and difference(s). The 13th edition of Rencontres de Bamako/African Biennale of Photography will be held from November 20, 2021 to January 20, 2022 in Bamako, Mali. This call is open to artists from the African world, amateur and professional photographers and video artists, alone or in groups, without age or nationality limit. Applications can only be made online on the internet platform of the Rencontres de Bamako. Applicants must include the completed application form, a detailed CV, a portrait of the artist, a portfolio, and samples of recent work (photography, videos, and/or digital works). For more details please visit our website. The online application can be accessed here. Selection 25 artists will be selected. The projects will be assessed on the basis of their quality and artistic relevance. The selection of the artists will be announced by email during the month of June 2021, and put online on our website. The selection committee, chaired by Bonaventure Ndikung, is composed of the curators and artistic advisors of the Biennale. Their decision will be sovereign and without appeal. Our comittments Registration to the present call for applications is free. Despite the global challenges of COVID-19, Bamako Encounters is committed to supporting engagement on contemporary African photography. We are cognizant of the ever changing international travel restrictions and welcome submissions in multiple formats/presentations. We will work with invited artists to accommodate their travel and/or present their work remotely. The selected artists are invited during the professional days, which take place during the first week of the Biennial, during which many meetings and discussions take place. Their airfare, visa fees and PCR tests as well as their accommodation are supported by the organization of the Biennale. About Rencontres de Bamako Founded in 1994, the Biennale is organized by the Ministry of Culture of Mali with the support of the Institut Français. Since its inception, the Biennale has been the first and main international event dedicated to African photography and video on the continent, and remains an essential event for contemporary art worldwide.
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posted 19. Nov 2021

Tatsuo Miyajima. Innumerable Counts

18. Sep 202112. Mar 2022
18.09.2021 – 12.03.2022 **Tatsuo Miyajima. Innumerable Counts** Ein Projekt zu 60 Jahre Druckwerkstatt im Schloss Wolfsburg Es ist eine kleine Sensation, wenn die Ausstellung von Tatsuo Miyajima eröffnet wird: Zum zweiten Mal überhaupt realisiert der bedeutendste Bildhauer und Installationskünstler Japans eine Wandzeichnung, die „Innummerable Counts“. Mit einem Filzstift werden Zahlen an die Wand gemalt, in zufälliger Anordnung von 9 bis 1 – ohne 0. Sie wird ersetzt durch ein Leerzeichen. „Das liegt daran, dass 0 »Tod« bedeutet. Der Tod ist für das Auge unsichtbar. Deshalb stelle ich die "0" immer leer dar, oder dunkel, damit man sie nicht sehen kann. Jede Zahl ist ein Symbol des Lebens ist. Mit anderen Worten: Diese unzähligen Zahlen sind eine Sammlung von unzähligen »Leben«. In dieser Ausstellung versuche ich, ein »Mandala« des Lebens zu schaffen, indem ich sie überall auf die Wand verteile“. Tatsuo Miyajima (1957) ist vor allem durch seine Arbeiten mit digitalen Leuchtdioden (LED) bekannt geworden. Obwohl er mit verschiedensten Medien arbeitet, stehen im Zentrum immer Zahlen. Er beschäftigt sich mit Zeit und Raum, die er als ein sich zyklisch wiederholendes und dabei stetig veränderndes Kontinuum versteht. Die Zeit der realen Erfahrung existiert neben der Zeit der Erinnerung, des Traumes und der Zukunft. Miyajima übersetzt dies in die universalen Ziffern 1-9 und ordnet diese in verschiedenen Formationen an, wobei er die Null vermeidet. Damit gibt es keinen Stillstand sondern stetige Veränderung. Neben dieser Wandarbeit werden Druckgrafiken und Arbeiten auf Papier gezeigt – es ist die erste Ausstellung mit Arbeiten auf Papier von Tatsuo Miyajima in Deutschland. Anlass ist das 60-jährige Jubiläum der Druckwerkstatt der Städtischen Galerie Wolfsburg. Im Sommer 1961 gegründet zählt sie nicht nur zu den ältesten Kunsttraditionen der jungen Stadt Wolfsburg, sondern auch im Zusammenhang mit einem Museum deutschlandweit als einzigartig. Seitdem haben über 350 Künstlerinnen und Künstler in der Druckwerkstatt gearbeitet, Arbeitsmaterial sowie die Unterkunft im Renaissanceschloss wurden von der Stadt Wolfsburg zur Verfügung gestellt. Im Gegenzug lieferten die Gäste Belegexemplare der in Wolfsburg gedruckten Arbeiten ab. Die Sammlung der Arbeitsproben ist inzwischen zu einem gewaltigen Fundus mit mehr als 3.000 Blättern angewachsen, darunter so berühmte Künstler wie Georg Baselitz, Gert & Uwe Tobias oder TalR. Auch ein Konvolut von Grafiken und Arbeiten auf Papier des international renommierten Künstlers Tatsuo Miyajima ist im Bestand der Städtischen Galerie. Durch weitere Leihgaben werden im September ca. 60 Arbeiten gezeigt. Mit dem berühmten Künstler wird nicht nur die zeitgenössische Grafik repräsentiert und das Jubiläum entsprechend gewürdigt, sondern auch das Eintauchen in die spannenden Texturen grafisch erzeugter Bildräume.

curator

Susanne Pfleger 
Städtische Galerie Wolfsburg

STÄDTISCHE GALERIE IM SCHLOSS WOLFSBURG | Schlossstraße 8
38448 Wolfsburg

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posted 18. Nov 2021

ANDREAS KEMPE – ES WAR NICHT ALLES AUF EINMAL ZU SEHEN

02. Oct 202113. Mar 2022
2. Okt 2021 – 13. Mär 2022 Ort: PAVILLON PARZELLE 3 im Kleingärtnerverein "Flora I" e.V., Bergmannstraße, 39 01309 Dresden-Striesen **ANDREAS KEMPE – ES WAR NICHT ALLES AUF EINMAL ZU SEHEN** Wie bestimmt das Sehen unsere Wahrnehmung von Natur? Andreas Kempe arbeitet seit mehreren Jahren in seinen künstlerischen Werken mit Aufnahmen aus dem Archiv des Biologen und Naturschützers Reinhard Kempe. Die ab 1960 bis in die 1980er Jahre hinein entstandenen Diapositive und Film aufnahmen dokumentieren eine biologische Artenvielfalt und Lebensräume, die in unserer unmittelbaren Umgebung zu finden sind. Das umfangreiche Archiv umfasst Aufnahmen von Insekten, Wildvögeln und Pflanzengesellschaften. Andreas Kempe überträgt Bilder und Materialien aus der biologischen Feldforschung in ortsspezifische künstlerische Installationen. Indem er sich mit unterschiedlichen Systemen der Orientierung auseinandersetzt und beispielsweise Super-8-Filmaufnahmen von einem Habicht im realen Setting eines Waldes zeigt, thematisiert er auch die Grenzen der Abbildbarkeit natürlicher Prozesse. Die komplexen Strukturen von 44 verschiedenen archivierten und getrockneten Moosen bilden die Basis eines im Risografieverfahren gedruckten Buches, das im Rahmen der Ausstellung für den Pavillon Parzelle 3 Andreas Kempe (*1972 geboren in Buchholz, Nordheide) ist bildender Künstler. Er studierte Malerei, Grafik und übergreifendes künstlerisches Arbeiten an der Hochschule für Bildende Künste Dresden. Im Fokus seiner künstlerischen Arbeit steht die Untersuchung der Grenzen traditioneller Bildräume und die Wahrnehmung von Natur. Im PAVILLON PARZELLE 3 Kleingärtnerverein "Flora I" e.V. Bergmannstraße 39 01309 Dresden-Striesen Alle Gartenprojekte unter freiem Himmel und der Ausstellungspavillon können täglich besichtigt werden (Winterpause nach Witterung). PARZELLE 3 Künstlerische Projekte und temporäre Ausstellungen zu Themen der Koexistenz von Mensch und Natur. Zusammenarbeit Eine permanente Außenstelle des Kunsthauses Dresden in Zusammenarbeit mit dem Kleingärtnerverein "Flora I" e. V. Mit dem Projekt wurde das Kunsthaus Dresden 2020 mit dem Preis ZukunftsGut für institutionelle Kulturvermittlung der Commerzbank Stiftung ausgezeichnet. Parzelle 3 wird gefördert durch das Stadtbezirksamt Blasewitz.

curator

Andreas Kempe 
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posted 17. Nov 2021

CASPAR DAVID FRIEDRICH UND DIE DÜSSELDORFER ROMANTIKER

09. Oct 202109. Jan 2022
09.10.2021-09.01.2022 **CASPAR DAVID FRIEDRICH UND DIE DÜSSELDORFER ROMANTIKER** Caspar David Friedrich (1774 Greifswald – Dresden 1840) gilt heute unbestritten als der berühmteste Maler der deutschen Romantik. Von Beginn seiner Laufbahn an war seine Kunst jedoch umstritten. Seit den 1820er Jahren wurde sie zunehmend durch die Malerei der Düsseldorfer Malerschule verdrängt und geriet nach seinem Tod für mehrere Jahrzehnte in Vergessenheit. Erst um 1880 wurde sie durch den norwegischen Kunsthistoriker Andreas Aubert wiederentdeckt. Die Ausstellung fragt nach den Gründen für den kurzen Aufstieg und langen Fall Friedrichs im 19. Jahrhundert. Warum wendete sich die Kunstkritik, die ihn anfangs gepriesen hatte, gegen den Künstler? Welche Rolle spielt der Geschmackswandel für private Sammler, Publizistik und Publikum im 19. Jahrhundert? Caspar David Friedrich lebte in einer Zeit tiefgreifender gesellschaftlicher Umbrüche – von dem Zusammenbruch des Heiligen Römischen Reiches Deutscher Nation, der französischen Besatzung und den napoleonischen Befreiungskriegen über die Neuordnung der politischen Landkarte Europas nach 1815 bis zu den Revolutionen von 1830 und 1848. Diese politischen Ereignisse werden in seinem Werk reflektiert und beeinflussten auch dessen Rezeption. Erstmals wird das Werk Friedrichs in einer Ausstellung gemeinsam mit Gemälden und Zeichnungen jener Zeitgenossen, Kollegen und Konkurrenten präsentiert, die ihm zu Lebzeiten in der Gunst der Kunstrichter und des Publikums den Rang abgelaufen haben. Neben zahlreichen Werken der Düsseldorfer Romantiker werden auch zeitgenössische Maler der Dresdener Romantik gezeigt. Ab 1826 stellte Friedrich zeitgleich mit der frühen Generation der Düsseldorfer Malerschule in verschiedenen Akademieausstellungen in Berlin, Dresden und anderen Orten aus. Zwar orientierten sich die Maler in Düsseldorf und Dresden durchaus an seiner Kunst, sie entwickelten aber in großformatigeren Werken zunehmend mehr Dramatik und Pathos, erzählten Geschichten und überzeugten mit technischer Raffinesse. Die Ausstellung ermöglicht erstmals den direkten Vergleich der verschiedenen künstlerischen Positionen. In der Ausstellung werden rund 120 Gemälde und Zeichnungen präsentiert, darunter etwa 60 Werke Friedrichs mit bedeutenden internationalen Leihgaben u.a. aus Paris, Oslo und Wien sowie aus Hamburg, Berlin und Karlsruhe. Caspar David Friedrichs Werke werden gemeinsam mit Arbeiten anderer Dresdener Maler – wie Carl Gustav Carus, Ludwig Richter, Johann Christian Clausen Dahl und Ernst Ferdinand Oehme – den Düsseldorfer Malern Andreas und Oswald Achenbach, Carl Friedrich Lessing, Johann Wilhelm Schirmer u.a.m. gegenübergestellt. Hierdurch wird nicht nur eine faszinierende Fülle an herausragender Landschaftsmalerei der Romantik in Deutschland gezeigt, sondern zugleich die Originalität der Werke und der künstlerischen Haltung Friedrichs erkennbar. Die Ausstellung ist eine Kooperation des MdbK mit dem Kunstpalast Düsseldorf (15.10. 2020- 24.5.2021). Sie wurde kuratiert von Bettina Baumgärtel (Kunstpalast Düsseldorf) und Jan Nicolaisen (MdbK). Die Ausstellung in Leipzig und der Katalog wurden gefördert durch die Kulturstiftung der Länder, die Ernst von Siemens Kunststiftung, die Art Mentor Foundation Luzern, die Rudolf-August Oetker-Stiftung und die Maximilian Speck von Sternburg Stiftung. Ein umfangreiches Begleitprogramm mit Ausstellungsgesprächen, Workshops, Führungen, Angeboten für Schulen u.v.m. wird die Ausstellung flankieren. Je nach Pandemie-Lage werden die Veranstaltungen vor Ort, hybrid oder digital angeboten. Details ab Anfang Oktober hier und in unserem Kalender. Zur Ausstellung ist im Sandstein Verlag der 208 Seiten umfassende Katalog mit zahlreichen Farbabbildungen und Texten von Bettina Baumgärtel, Johannes Grave, Florian Illies, Jan Nicolaisen und Maria Zinser erschienen.
Museum der Bildenden Künste Leipzig

Katharinenstraße 10
04109 Leipzig

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posted 16. Nov 2021

Doug Aitken: New Era

20. Oct 202106. Feb 2022
Doug Aitken: New Era 20.10.2021 - 06.02.2022 Internationally recognised American artist, presented in the 2021/2022 Sydney International Art Series Plunge into the world of American artist Doug Aitken this summer. In this Sydney-exclusive exhibition, see installations, objects, photographs, and vast immersive multi-screen environments that will envelop you within a kaleidoscope of moving imagery and sound. Using light, reflection and multiplication, Aitken mesmerises visitors. His works lead us into a world where time, space, and memory are fluid concepts. Don’t miss exhibition highlights, including Sonic Fountain II (2013/2015), a large-scale sound installation built into a rocky, earthen terrain situated within the gallery. An immersive video installation inspired by the history of mobile phone technology and its pioneer, the American engineer Martin Cooper, NEW ERA (2018) reflects on the power of communications technology as it unites and dislocates us. Curator Rachel Kent

artist

Doug Aitken 

curator

Rachel Kent 
MCA Sydney

MCA NORTH, The Rocks, 140 George Street
Sydney

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posted 15. Nov 2021

EGAN FRANTZ, NOT ENOUGH WORDS

07. Oct 202119. Dec 2021
7 OCTOBER 2021 – 19 DECEMBER 2021 **EGAN FRANTZ, NOT ENOUGH WORDS** FOUNDRY SEOUL presents Not Enough Words, a New York-based artist Egan Frantz’s first solo exhibition in Asia from 7 October to 19 December. With 43 works that span over the decade of the artist’s oeuvre, the exhibition introduces in detail the artistic journey of the artist who has been exploring ways to capture and express the essence of things themselves that cannot be fully contained within the frame of language. The exhibition is organized to examine the artist’s intense line of thought that encompasses his performances, sculptures, and installations in the early 2010s to the abstract paintings with bold colors that he has been focusing on in recent years. As he is pursuing his path to “follow where painting leads,” the exhibition invites an opportunity to encounter Egan Frantz’s passionate journey towards the beauty of truth that penetrates the artist’s oeuvre. Egan Frantz always poses intellectual and aesthetic challenges. He has been continuously exploring the relationship between language and the nature of matter and phenomena through his works encompassing various media, materials and techniques. He mentions Stefan Mallarmé’s symbolic poem Un coup de dés jamais n'abolira le hasard (A throw of the dice will never abolish chance) as the point of departure in his work. He also tells that he is deeply impressed by an American experimental poet Jack Spicer, Jorge Luis Borges’ fantastic literature, and the artistic movement of Dadaism. The artist respects their avant-garde attempts to recognize the limitations of written language and tries to experience beauty and sublime by overcoming the restrictions and encountering the truth. He has persistently been carrying out the task of expressing such experiences through visual media. Over the past decade, the artist’s oeuvre has been developing from performance, sculpture, and installation to monochrome paintings using various materials and techniques such as Kleenex toilet paper, corroded copper plates, and laser engraving, which has transformed into large-scale abstract paintings characterized by diverse colors and geometric patterns in the background. Each stage the artist has gone through is interconnected in ways to establish internal rules for the next stage or provide figurative motifs to it. The spatial arrangement of the exhibition is composed in a way to present a chronology of changes in the artist’s practice, and at the same time, in a way that suggests rules and motifs that are repeated and varied. As such, the exhibition conveys the artist’s oeuvre to the viewers in a richer and a more profound way. The artist says that his “attention is focused on watching to see where each painting wants to go in order to ultimately deliver it to that place.” What is important, however, is not how the artist arrived there. What is important is that the artist presents us with his unique artistic world through patient investigations, which is “totally lyrical, abstract, non which could be predictable, but always surprising.”

artist

Egan Frantz 
FOUNDRY Seoul

223, Itaewon-ro, Hannam-dong, Yongsan-gu
Seoul

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posted 14. Nov 2021

Alice Creischer, Iza Tarasewicz. Battling with Malevolent Forces

12. Nov 202127. Feb 2022
Alice Creischer, Iza Tarasewicz. Battling with Malevolent Forces November 12, 2021–February 27, 2022 Opening: November 12, 7–9pm The hat speaks, the rake speaks the scythe murmurs to the ear in the grass: 8.760 hours has the year. 1.200 hours consumes a job. 40 years of work with 80 years life expectancy are 48.000 hours. But life has 700.800 hours in Germany. In Germany the share of working time of life is only 7 percent. To the ear in the grass speaks the hat the rake speaks it whispers the scythe to the eyelid: Given the speed of light in fiber it is possible to send an order from New York to Chicago and back in 12 milliseconds. It gives the occasion to be the first to exploit the discrepancies between prices in Chicago and prices in New York. A millisecond is a thousandth of a second A tenth of the time it takes you to blink your eyes, if you blink as fast as you can. To the lid the scythe sizzles Watch out, you, Don't you think, you that you can hide it under the lid of skin the dream in sleep and the eyes that run in it around like birds do before the host who writes exactly and precisely your share of work in life on the door with inerasable chalk and do not think that you can wipe it out with your batting eyelashes and let your eyes stand still still in the middle motionless frozen from the fright to listen to me in the grass And do not think And don't you dare you! To think that I am a cricket

artists & participants

Alice Creischer,  Iza Tarasewicz 
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posted 13. Nov 2021

Michaela Eichwald. Auf das Ganze achten und gegen die Tatsachen existieren

08. Oct 202123. Jan 2022
08. Okt 2021 – 23. Jan 2022 **Michaela Eichwald** Das Bild zur Ankündigung einer vergangenen Galerieausstellung von Michaela Eichwald zeigt ein noch nicht aufgespanntes Gemälde schräg und prekär vom Balkon hängen. Von der Strasse sichtbar steht darauf gemalt: «Bitte abholen und wegbringen». Diese Bitte ist wohl eher ein verzweifelter Appell und weniger eine höfliche Aufforderung, das ausrangierte Objekt (vielleicht auch die Künstlerin selbst) abzuholen. Allerdings spricht dieser kleine Einblick in das Werk der deutschen Künstlerin Bände über ihre kompromisslose Auseinandersetzung mit der vermeintlich edelsten Gattung der Kunstgeschichte: der Malerei. Wie lange hing ihr Gemälde wohl dort? Waren Wind und Wetter an seiner Entstehung be- teiligt? Schliesslich weiss man von Eichwald, dass sie auf ihre Gemälde getreten ist, sie beklebt, mit Flecken und Verschmierung ar- beitet oder sie anderweitig malträtiert, bevor sie aufgespannt und an der Wand zur Schau gestellt werden. Aber es ist nicht so, dass Eichwald den Bildern gegenüber gleich-gültig ist. Im Gegenteil, sie sind ihr ein besonders wichtiges Anliegen und sie nennt die Fragestellungen der Malerei «unendlich schön und unerschöpflich». Das ist wahr-scheinlich genau der Grund, warum sie es wagt, die Probleme der Gattung derart kühn und erbarmungslos anzugehen und traditionelle Vorstellungen davon, was als «gute Form» gilt, zu kritisieren; alles, um der Malerei weiterhin Bedeutsamkeit zu geben. Tatsächlich hat Eichwald keine klassische Malereiausbildung und studierte von den späten 1980er bis in die frühen 2000er-Jahre Philosophie, Geschichte, Kunst- geschichte und Germanistik in Köln. Zu einer Zeit als die Stadt als Zentrum der europäi-schen Kunstwelt galt, speiste sich ihre künst-lerische «Ausbildung» stattdessen aus den dortigen informellen Begegnungen mit unwesentlich älteren Zeitgenoss*innen wie Michael Krebber, Cosima von Bonin, Jutta Koether und Diedrich Diederichsen, sowie aus der Lektüre von Zeitschriften wie Spex und Texte zur Kunst. Eichwald schrieb Texte und Gedichte und traf mit dreissig den Entschluss, Künstlerin zu werden. Was aller- dings «überhaupt nicht funktionierte», wie sie erklärt. Kaum etwas von dem, was sie machte, wurde als verkäuflich erachtet und ein Atelier war ein unerschwinglicher Luxus, den sich kaum jemand in ihrem Umfeld leisten konnte. In der Stadt herrschte eine «produktive/nicht-produktive Attitüde», wie ihr Künstlerkollege Josef Strau es be-schrieb und nach ihren eigenen Angaben dauerte es noch weitere fünfzehn Jahre, bis es zum ersten Verkauf eines grösseren Kunstwerks kam. In den 1990er-Jahren experimentierte Eichwald mit Videos, um dann Fotografien, Arbeiten auf Papier sowie Skulpturen zu schaffen. Letztere sind eigenwillige, in Kunst-harz gegossen Formen, angefüllt mit sorg- sam ausgesuchten Alltagsgegenständen wie Hühnerknochen, Radiergummis, Halloween-Süssigkeiten und kleinen Zeichnungen, die in ätherischen Epoxidharz-Blasen erstarrt scheinen. Es ist jedoch ihre Malerei, die am meisten Aufmerksamkeit bekommt und im Zentrum dieser Präsentation neuer Arbeiten in ihrer ersten institutionellen Ein-zelausstellung in der Schweiz steht. Von Anfang an ist die Wahl von unkonventionel-lem Bildträgermaterial und «Farben» cha- rakteristisch für ihre Arbeitsweise. Auf ihren Materiallisten befindet sich nicht nur das übliche Arsenal aus Acryl- oder Ölfarben, son- dern eben auch Lack, Schellacktusche, Sprüh- farbe, Kunstblut, Graphitstift, Holzbeize, Metallic-Filzstift oder Aufkleber. Diese haften an bzw. verdicken sich auf den Oberflächen aus bedrucktem Kunststoffgewebe oder bun-tem Kunstleder – gelegentlich versehen mit der pockigen Oberfläche von falschem Straus-senleder oder mit glitzernden Perforierungen.
Kunsthalle Basel

Steinenberg 7
CH-4051 Basel

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posted 12. Nov 2021

Augustin Rebetez. Winter Birds

05. Nov 202129. Jan 2022
Augustin Rebetez. Winter Birds 05.11.2021 - 29.01.2022 Augustin Rebetez (1986) works in various media including photography, painting, video, sculpture, music, installation and theatre. The swiss artist constructs a multifacetted body of work that defies categorisation. Since 2009, he has exhibited his work all over the world including the Sydney Biennale, the Rencontres d’Arles, the SESC in São Paulo, the Daegu Photo Biennale, the Tinguely Museum in Basel or the Shenzhen Independent Animation Biennale. He received different awards, including the Vevey International Photography Prize, the Swiss Art Awards or the Prize Fondation Latour. In his vibrant exploration of total art, he collaborates with many performers, models, musicians and craftsmen, as well institutions such as Théâtre de Vidy in Lausanne, where he created three different pieces, or the NGO Art for the World. He published several books (Actes Sud, RVB Books, ...). In 2021, he created the music label and publishing house Label Rapace. His bands are Gängstgäng and CHRUCH. Often abroad, he is based in a small village in the swiss countryside, where he uses his big house as an atelier and an open art residency. * BIOGRAPHY Augustin Rebetez (03.08.1986) works in various media including painting, photography, video, sculpture, installations and theatre. He is developing a universe populated by characters, chimeras and peculiar machines which reflect his exuberant imagination. Drawing inspiration from outsider and folk art brut as well as tribal design, Rebetez constructs a multifacetted body of work that defies categorisation. Rebetez’s work seems to form part of an ancient tradition of legends and rites. His creations relate to a wondrous and fantastic world which swings between dream and nightmare, the lighthearted and the serious. A modern alchemist, Rebetez plays with movement and sound, transforming banal reality into poetic fiction. (Nathalie Herschdorfer, MBAL, 2016) Since 2009, he has exhibited his work all ove r the world. His solo show at the Rencontres photographiques d’Arles in 2011 marked a milestone in his career, as did the Sydney Biennale in 2014. He received the Vevey International Photo- graphy Prize that same year. Then, in 2016, he created a big in-situ installation for the Tinguely Museum in Basel. In his vibrant exploration of total art, he collaborates with many performers, acrobats, musicians and friends, as well institutions such as Théâtre de Vidy in Lausanne where he created three different pieces. In 2018, he released a serie of twelve stop-motion shorts with director and clown Martin Zimmermann, entitled The Adventures of Mr. Skeleton. This autumn, he exhibited his work in Tokyo, Beirut and Shenzhen. Rebetez is represented by several galleries including Nicola Von Senger in Zurich and Stieglitz19 in Antwerpen. He has published several books. In 2019, his main project will be a major solo show at SESC Consolaçao in São Paulo with curator Adelina von Fürstenberg. * Augustin Rebetez by Claudia Küssel, FOAM Fotografiemuseum Amsterdam, may 2015 Being one of the most striking voices of a new generation of Swiss artists, Augustin Rebetez (1986) was selected as one of the Foam Talents in 2013 and as the winner of last year’s Vevey International Photo Award. In a short period of time Rebetez has developed a rich and strong oeuvre, expressing his vivid inner poetry through dyna- mic forms and media. His work represents a personal, surreal universe that offers a stage to mysterious, tragico- mical characters and bizarre situations. Masked figures and animal-like creatures are the theatrical performers in a continuous narrative which is energetic, dark, humorous and loaded with subconscious references. Most of all, Rebetez’ work bursts with creative and visual power. Although his works are based on pre-conceived ideas there is a lot of spontaneous, intuitive creation in situ that comes straight from the heart and results in a hybrid of related media. With photography as the starting point, his images, films, animations, drawings, sculptures, installations and performances are blended in a Gesamtkunstwerk in which all forms respond to one another. He embraces collaborations with friends and colleagues, and knows no restrictions in realising his inner vision. According to Rebetez a good picture brings emotions, dreams and a constellation of ideas and is the result of his ongoing artistic research. Not easy to define and without any rules, he directs the viewer with an extensive manifesto that seems to be proclaimed by a few black animal-like creatures: ’We are ghosts trying to become visible. We like rituals. We believe in shadows and whispers. We work for the night.’ The night is an important time and place where many of Rebetez’ creations originate from or are constructed in. In his earlier series which culminated in the publication ANTHILL (METEORITES) published by RVB Books, Rebetez presents raw nocturnal séances that took place in his house in the Swiss mountains. He invited some friends and they became the protagonists in an enigmatic narrative that has the feel of a party gone wild. Rebetez presents a world of fiction and reality where the artist is a director, a participant and a witness at the same time. In experimental settings, using contrasting vibrant colours, installations, sculptures, drawings, photography, he invites the viewer to dwell in the artists’ inner world. As rich as the final outcome of his work, he finds his inspiration in a wide range of mysterious practices like dreams, rites, energy, Spiritism, automatic language, besides important themes as the theatre and the circus where all his subconscious figments seem to assemble. In an interview for Foam Magazine, Jörg Colberg asked him about the artists that are important to him. Not surprisingly Rebetez named Louise Bourgeois, Buster Keaton, William Kentridge, as well as artists from Art Brut and literature. As we look at his drawings there seems to be some local influence too like from Paul Klee. The characteristic black animal-like figures that populate his work also bring the paintings from Hieronymus Bosch to mind. Especially his most famous painting The Garden of Earthly Delights, with its fantasy creatures that inhabit both paradise and hell. Recently some of his works seem to be more defined, also in their aesthetic approach. There are many references to the melancholia and naiveté of the clown Pierrot whose character has developed into the alter-ego of the artist during the 19th and 20th century. Rebetez also allows more light to enter his work, the narrative is less personal and more abstract. Marionette puppets and figures from the theatre of shadows perform a silent play. However, in contrast to the still images, his amazing energetic stop motion films have kept the dynamism that is typical for his work. And even more than that. At some points hilarious and spookily dark, the creatures who are performed by acrobatic friends, seem to be trapped in an inefficient ‘perpetuum mobile’ with a lot of Buster Keaton style melodrama. Rebetez makes endless objects come to life in original and surprising settings. All this creativity must be born from a free spirit with an endless imagination. The characters and the humour are refreshing and inevitably catching. The little ghosts who proclaim the manifesto end it as fol- lows: “if nothing satisfies you we are the appetite that you need. we will blow your mind eventually, so go for it!”
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posted 11. Nov 2021

WHO’S NEXT?

04. Nov 202106. Feb 2022
opening: 04. Nov 2021 07:00 pm
ort: Architekturmuseum der TUM in der Pinakothek der Moderne WHO’S NEXT? OBDACHLOSIGKEIT, ARCHITEKTUR UND DIE STADT 04. NOVEMBER 2021 – 06. FEBRUAR 2022 ERÖFFNUNG: 03. NOVEMBER 2021, 19.00 Obdachlosigkeit – der Zustand, keine feste Wohnung zu haben – zeigt sich als ein zunehmendes globales Problem, das aber besonders auf lokaler Ebene diskutiert und gelöst werden muss. Dabei hat die Coronapandemie die Situation nicht nur weiter zugespitzt, sondern sie zu einem gesamtgesellschaftlichen Anliegen werden lassen. In vielen Ländern der Welt war der politische Diskurs der letzten Jahre geprägt durch die Haltung, dass Armut ein persönliches Verschulden ist und Obdachlosigkeit darauf beruht, dass sich die betroffenen Menschen nicht aktiv genug um eine Unterkunft und eine gesicherte Lebensgrundlage bemühen. Diese Sichtweise hat sich durch die pandemiebedingten Insolvenzverfahren und die steigende Arbeitslosigkeit sicherlich geändert, denn viele Menschen auf der ganzen Welt könnten als nächstes ihren Wohnraum verlieren. Obdachlosigkeit hat einen historischen Höchststand erreicht und nimmt in vielen Städten der Welt weiter zu. Auch wenn Architektur das Problem der Wohnungslosigkeit nicht alleine löst, stellt sich hier doch die Frage, wie und mit welchem Beitrag sie Einfluss nehmen kann. Genauer gesagt: Wie kann Architektur in Zusammenarbeit mit anderen Berufsgruppen dazu beitragen, Menschen ohne Obdach eine permanente Unterkunft zu verschaffen? Mithilfe der Expertise von nationalen, regionalen und städtischen Behörden, Nichtregierungsorganisationen, religiösen Institutionen, Einrichtungen des Gesundheitswesens und Wissenschaftler:innen unterschiedlicher Disziplinen setzt sich „Who’s Next? Obdachlosigkeit, Architektur und die Stadt“ das Ziel, diese Frage zu untersuchen und die realen Umstände von Obdachlosigkeit zu verstehen. In der Ausstellung werden dafür historische und aktuelle Entwicklungen in deutschen Städten, aber auch weltweit in Städten wie Los Angeles, Moskau, Mumbai, New York, São Paulo, San Francisco, Shanghai und Tokio betrachtet. Analysen von architektonischen Fallbeispielen, historische und in Auftrag gegebene Dokumentarfilme und eine eigens für die Ausstellung eingerichtete Bibliothek tragen zum Verständnis von Obdachlosigkeit und den vielen damit verbundenen Problemen bei. Durch diese sehr heterogene Herangehensweise nähert sich die Ausstellung einer der komplexesten Krisen unserer heutigen Zeit.

artists & participants

Myrzik and Jarisch,  Christopher Michel 

curator

Daniel Talesnik 
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posted 10. Nov 2021

The Negro Artist's Dilemma & Romare Bearden: Abstraction

14. Oct 202109. Jan 2022
"The Negro Artist's Dilemma" Revisited: An Abstract Artist Summit (Virtual) November 17, 6–7pm An abstract artist summit with Lorraine O'Grady, Suzanne Jackson and Shinique Smith Romare Bearden: Abstraction October 15, 2021–January 9, 2022 “The...most perplexing problem is the evident pressure exerted on the Negro artist to use his art as an instrument to mirror the social injustices inflicted upon his people,” reads Romare Bearden’s seminal 1946 essay “The Negro Artist’s Dilemma.” We’ll revisit the artist’s perspective in conversation with conceptual and abstract artists of today, including the celebrated conceptual artist Lorraine O’Grady, abstract artist Suzanne Jackson, and abstract and calligraphy artist Shinique Smith. This event is presented in partnership with the American Federation of Arts. Lorraine O’Grady is a conceptual artist and cultural critic whose work over four decades has employed the diptych, or at least the diptych idea, as its primary form. While she has consistently addressed issues of diaspora, hybridity and black female subjectivity and has emphasized the formative roles these have played in the history of modernism, O’Grady also uses the diptych’s “both/and thinking” to frame her themes as symptoms of a larger problematic, that of the divisive and hierarchical either/or categories underpinning Western philosophy. In O’Grady’s works across various genres including text, photo-installation, video and performance, multiple emotions and ideas coexist. Personal and aesthetic attitudes often considered contradictory, such as anger and joy or classicism and surrealism, are not distinguished. Even technical means seem governed by both chance and obsessive control so as to express political argument and unapologetic beauty simultaneously. And across the whole, essays and images interpenetrate. While O’Grady’s diptychs are sometimes explicit, with two images side by side, at other times they are implicit, as when two types of hair—silk and tumbleweed, videotaped on the same scalp at different hours of the same day—alternate and interact to create permeating worlds. The goal of her diptychs is not to bring about a mythic “reconciliation of opposites,” but rather to enable or even force a conversation between dissimilars long enough to induce familiarity. For O’Grady, the diptych helps to image the kind of “both/and” or “miscegenated” thinking that may be needed to counter and destabilize the West’s either/or binary of “winners or losers,” one that is continuously birthing supremacies, from the intimate to the political, of which white supremacy may be only the most all-inclusive. An early adopter of digital technology, O’Grady has also created a website, lorraineogrady.com, which is considered a model of the online abbreviated-archive, and her paper archive is in the collection of the Wellesley College Library. Among O’Grady’s writings, the 1992/94 long-form essay “Olympia’s Maid: Reclaiming Black Female Subjectivity” has proved an enduring contribution to the fields of art history and intersectional feminism. O’Grady’s art works have been acquired by, among other institutions, the Art Institute of Chicago. IL; Museum of Modern Art, NY; Tate Modern, London, UK; Museum of Fine Arts, Boston, MA; and the Whitney Museum of American Art, NY. O’Grady’s first career retrospective, Lorraine O’Grady: Both/And, with catalogue, was presented by the Brooklyn Museum (March 5–July 18, 2021) and travels to the Weatherspoon Art Museum at UNC Greensboro (January 8–April 30, 2022). In addition, her first book of collected writings, Writing in Space: 1973–2019, was recently published by Duke University Press and may be previewed here. Suzanne Jackson works in Savannah, Georgia, where she has lived since 1996. Her works are known as the “anti-canvases,” these works are highly abstracted, contrasting with her early figurative paintings. She is a 2019 recipient of the Joan Mitchell Foundation Painters & Sculptors Grant, was the subject of a major retrospective exhibition and monograph, Five Decades, organized by the Jepson Center for the Arts, Telfair Museums, Savannah (2019). She has presented solo exhibitions at Ortuzar Projects, New York, O-Town House, Los Angeles, (2019), Danville Museum of Fine Arts, Danville, Virginia (2010), and Fashion Moda, New York (1984). Her work has featured in institutional surveys and historic exhibitions including Life Model: Charles White and His Students, Los Angeles County Museum of Art (2019); West by Midwest, Museum of Contemporary Art, Chicago (2018–19); Soul of a Nation: Art in the Age of Black Power, Brooklyn Museum, New York (2018–19); Now Dig This! Art and Black Los Angeles 1960–1980, Hammer Museum, Los Angeles (2011–13); Gallery 32 & Its Circle, Laband Art Gallery, Loyola Marymount University, Los Angeles (2009); Synthesis, Just Above Midtown Gallery, New York (1974); Directions in Afro American Art, Herbert F. Johnson Museum of Art, Cornell University, Ithaca (1974); and Black Mirror, Womanspace Gallery, Los Angeles (1973). Her work is in the permanent collections of The Art Institute of Chicago; The Baltimore Museum of Art; The California African American Museum; The Indianapolis Museum of Art, at Newfields: The Museum of African American Art, Los Angeles; The Museum of Modern Art, New York. Shinique Smith is a Los Angeles based painter and sculptor known for her monumental abstractions of calligraphy textiles and collage. Smith’s personal histories and belongings intertwine with thoughts of the vast nature of ‘things’ that we consume and discard and how objects resonate on an intimate and social scale. Over the last twenty years, Smith has gleaned visual poetry from vintage clothing and explored concepts of ritual through tying, writing and gestures inspired by her travels and her early graffiti roots in Baltimore. Through her process, Smith builds a complex material vocabulary that deftly interweaves brushstrokes, private narratives and symbolism for the viewer to divine and intuit. Smith’s practice operates at the convergence of consumption, displacement and spiritual sanctuary, revealing connections across space, time, and place to suggest the possibility of constructing worlds renewed by hopeful delight. She has exhibited over 20 solo presentations at institutions such as California African American Museum, The Frist Center, MOCA North Miami, Los Angeles County Museum of Art and Studio Museum in Harlem. Her exuberant works are featured in many prestigious collections including Baltimore Museum of Art, The Brooklyn Museum, Denver Art Museum, Minneapolis Art Institute, Museum of Fine Arts, Boston and Whitney Museum. In 2020, Smith was awarded a Tufts Alumni Travel Fellowship and she has also received awards from Joan Mitchell Foundation Tiffany Foundation and Anonymous Was a Woman among others. Smith earned her BFA and MFA from Maryland Institute College of Art where she was also awarded the Alumni Medal of Honor. * Romare Bearden: Abstraction October 15, 2021 - January 9, 2022 With some 55 paintings, works on paper and collages, Romare Bearden: Abstraction is the first exhibition to fully examine and contextualize the artist’s significant body of abstract work. Recognized as one of the most creative and original visual artists of the 20th century, Romare Bearden’s prolific and distinguished career spanned nearly 50 years. This exhibition, which debuts at the Gibbes before traveling to venues across the country, also includes pieces created before and after his most direct engagement with abstraction (among these, the figurative collages for which he is most well-known). The exhibition emphasizes the importance of abstraction in the artist's oeuvre, its significant contribution to the overall Bearden narrative and marks the artist's place within the New York avant-garde of the 1950s-60s. Romare Bearden: Abstraction is organized by the American Federation of Arts and the Neuberger Museum of Art, Purchase College, SUNY.
The Gibbes Museum, Charleston

135 Meeting St
SC 29401 Charleston

United States of Americashow map
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