daily recommended exhibitions

posted 24. May 2022

Ragnar Kjartansson - Emotional Landscapes

21. Feb 202226. Jun 2022
Ragnar Kjartansson: Emotional Landscapes Major works presented in dialogue with 19th and 20th-century American works February 21–June 26, 2022 Opening on February 22, 2022 Emotional Landscapes is a major exhibition by Ragnar Kjartansson that features four monumental video installations from the TBA21 Collection, as well as some of his works on paper on loan from other collections, installed within the Museo Nacional Thyssen-Bornemisza’s foremost collections of 19th and 20th-century American Art. The exhibition’s title, Emotional Landscape, refers to lyrics by Icelandic visionary musician and artist Björk, which links together notions of landscape and mental state, and underpins Kjartansson’s inspired reverence for the community spirit and vibrancy of Reykjavík’s artistic and musical scene. His work naturally blends a myriad influences from an artistic way of life that started with an early love for literature and theater, encouraged by his family of actors and singers, and a formal artistic education that ignited a strong admiration for the beautiful and the sublime work of 18th and 19th-century artists. Feeding an emotional and sensory creativity, eclectic musical references are abundant in Kjartansson’s work and range from Mozart to Icelandic folk music, ‘60s Italo-pop, Nina Simone, Bob Dylan, Prince, electronic music, to German composer Karlheinz Stockhausen. Emotional Landscapes proposes to gather together for the first time works that are monumental in size and immersive in nature, providing opportunities to explore the interplay between Kjartansson’s work and iconic American imagery; and builds upon TBA21’s fifteen-year relationship with the artist, during which the Foundation has supported his practice through exhibitions, productions, and (co-)commissions. The exhibition also marks the launch of the Foundation’s anniversary, celebrating twenty-year of advocacy and support to the arts. The exhibition includes some of Kjartansson’s most significant installations—The Visitors (2012), The Man (2010), The End (2009), and God (2007, co-commissioned by TBA21 and The Living Art Museum in Reykjavík)—that combine performance, durational performance, and music with resolute romanticism and a fascination with North America and the North American landscape. And together with the series of watercolors, From the Valley of World-Weariness in British Columbia(2011), it opens a conversation with the collections of the Museo Nacional Thyssen-Bornemisza, which holds the most important collection of nineteenth-century American landscape painting, in Europe. In The Visitors (2012), Kjartansson brings together some of his friends and most renowned musicians and composers in Iceland (Shahzad Ismaily, Davíð Þór Jónsson, Kristín Anna Valtýsdóttir, Kjartan Sveinsson, Þorvaldur Gröndal, Ólafur Jónsson, and Gyða Valtýsdóttir) to the historic nineteenth-century Rokeby Farm in Barrytown, New York. In The End (2009) the scenography echoes the historically romanticized tradition of the artist in landscape, and was recorded with the musician Davíð Þór Jónsson in the snow capped Rocky Mountains. In The Man (2010) Kjartansson recreates the classic scenery of Andrew Wyeth’s painting Christina’s World (1948) and turns it into a tribute and portrait of an important figure in the evolution of American blues music, the pianist and Delta bluesman Pinetop Perkins. And in God (2007), Kjartansson emulates the timeless figure of a mid 20th century technicolor crooner by leading a jazz orchestra in a sound stage setting. “With music and landscape as guiding threads,” this show is, in the words of its curator, TBA21 Chief Curator Soledad Gutiérrez, “a tour of emotions, where mental states function as spaces for a possible understanding not only of ourselves but also of the communities we build and, on that basis, the world we inhabit. The works on view are installed in different areas of the Museo Nacional Thyssen-Bornemisza, generating new contexts for the reading of the classical collections, reinforcing the idea that history helps us better understand the present, while at the same time, the present and contemporary artistic practices are fundamental tools for revising and rethinking history.” About Ragnar Kjartansson Ragnar Kjartansson draws on the entire arc of art in his performative practice. The history of film, music, theater, visual culture and literature find their way into his video installations, durational performances, drawing and painting. Pretending and staging become key tools in the artist’s attempt to convey sincere emotion and offer a genuine experience to the audience. Kjartansson’s work has been exhibited widely. His work is currently the subject of a major solo show which inaugurated V-A-C’s GES-2 House of Culture in Moscow. Other recent solo exhibitions and performances have been held at the Kunstmuseum Stuttgart, Metropolitan Museum of Art in New York, Barbican Art Gallery in London, Hirshhorn Museum and Sculpture Garden in Washington DC, Reykjavík Art Museum, Palais de Tokyo in Paris, and New Museum in New York. The artist received the 2019 Ars Fennica Award, and was the recipient of the 2015 Artes Mundi’s Derek Williams Trust Purchase Award, and Performa’s 2011 Malcolm McLaren Award. In 2009, Kjartansson represented Iceland at the Venice Biennale, and in 2013 his work was featured at the Biennale’s main exhibition, The Encyclopedic Palace. Kjartansson was born in 1976 in Reykjavík, and studied at the Iceland Academy of the Arts and The Royal Academy, Stockholm.
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posted 23. May 2022

David Claerbout. Dark Optics

27. Apr 202204. Jun 2022
Apr 27 - Jun 04, 2022 **David Claerbout Dark Optics** Sean Kelly is delighted to present Dark Optics, a solo exhibition by Belgium-based artist David Claerbout. The exhibition is the US premiere of Claerbout's two most recent film works, The Close, 2022 and Aircraft (F.A.L.), 2015-2021, alongside a series of works on paper relating to each film. To mark the opening of the exhibition, Claerbout will be in conversation with David E. Little, Executive Director of the International Center of Photography, on Tuesday, April 26 at 6:30pm. The Close is conceived as a journey traversing the past and future of the camera. It brings together a reconstruction of amateur film, circa 1920, and a digital 3D rendering of that footage. Reminiscent of so-called city symphonies during the early days of film, which marked the proliferation of the movie camera into daily life, the film opens with a street scene whose occupants are muted twice - socially and again, technically. Claerbout poetically attempts to restore their voices at the end of the film with a recording of 24 spatially distinct singers performing Arvo Pärt's 2004 vocal composition Da Pacem Domine, thus surrounding an isolated child, who has become the focus of the film, with an architecture of voices. The Close oscillates between sensorial cohesion and fragmentation, the familiar and the estranged. Intended as a short, emotional history of the camera, The Close reflects on what Claerbout refers to as 'dark optics,' a profound if chaotic recalibration of the beliefs we share regarding image, information, and language. David Claerbout recorded Aircraft (Final Assembly Line) with a camera in an empty factory hall and generated the image of the aircraft with the aid of an elaborate 3D model. The result is a hybrid representation that creates the illusion of a photographic reality. Throughout his work in virtual photography, Claerbout has discussed the effect of having materials stripped of their context and content which results in the loss of optical confidence. "Working with synthetic images is operating in an extremely fragmented world where masses of details pretend to be a totality," explains Claerbout, referring to the work of neuropsychologist Iain McGilchrist and his theory of divided attention. "The synthetic image with its overreliance on language and computing has something pathological about it, bringing to mind the fragmented sensorial world of the schizophrenic patient." Aircraft (F.A.L.) features a brand-new object that looks simultaneously unfinished and redundant. In the same way, the factory hall, a place of production for the future, is interchanged with the museum, where the past is often presented. The only intermediary between this past and the future is the echoing sound of the guard’s footsteps, reminiscent of a museum guard, which punctuate the film. Claerbout studied at the Nationaal Hoger Instituut voor Schone Kunsten in Antwerp from 1992 to 1995 and participated in the DAAD: Berlin Artists-in-Residence program from 2002 to 2003. Claerbout's work is included in major public collections worldwide, including Centre Georges Pompidou Musée National d'Art Moderne, Paris, France; Pinakothek der Moderne, Munich, Germany; Art Gallery of Ontario, Toronto, Canada; The Museum of Contemporary Art, Los Angeles; Walker Art Center, Minneapolis; Hirshhorn Museum and Sculpture Garden, Washington D.C; SFMOMA, San Francisco; S.M.A.K, Ghent, Belgium; The Margulies Collection, Miami, Florida; Collection François Pinault, Italy; FRAC Nord Pas de Calais, France; Galerie Neue Meister, Dresden, Germany; GAM Galleria D'Arte Moderna e Contemporanea, Turin, Italy, and many others. He has been the subject of numerous solo exhibitions internationally, including the De Pont Museum of Contemporary Art, Tilburg, The Netherlands; the Pinakothek der Moderne, München, Germany; Talbot Rice Gallery, University of Edinburgh, Scotland; Schaulager, Basel, Switzerland; Kunsthalle Mainz, Mainz, Germany; Secession, Vienna, Austria; Tel Aviv Museum, Tel Aviv, Israel; SFMOMA, San Francisco; WIELS, Brussels, Belgium; De Pont museum of contemporary art, Tilburg, The Netherlands; Pompidou Center, Paris, France; Kunstmuseum, St. Gallen, Switzerland; MIT List Visual Arts Center, Cambridge, Massachusetts and Van Abbemuseum, Eindhoven, The Netherlands. David Claerbout will have a concurrent exhibition at Esther Schipper, Berlin, from April 28 – May 28, 2022.
Sean Kelly Gallery, New York

475 Tenth Avenue
NY 10018 New York

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posted 22. May 2022

2nd Toronto Biennial of Art 2022

26. Mar 202205. Jun 2022
March 26 – June 5, 2022 **2nd Toronto Biennial of Art 2022** (Sept 25–Dec 5, 2021) Originally scheduled for fall 2021, the Biennial will now take place March 26–June 5, 2022. The Biennial’s Board of Directors and Executive Director Patrizia Libralato, along with the Biennial team, decided to postpone the event for six months to help ensure the health and safety of participating artists, collaborators, partners, supporters, the public, and Biennial staff. The artists invited to participate are developing projects that require many of them to travel to Toronto, undertake site visits months in advance, and manage on-site installations just prior to the opening of the event. These activities require their presence in the city. As travel and shipping continue to be disrupted by the pandemic, the ability of artists to realize their projects as conceived in a shortened time frame was at risk. The Biennial was established as a celebration of the arts across the city of Toronto, engaging the public with free and accessible programming at a variety of venues and locations. By postponing the event, organizers will be better positioned to present a Biennial that truly reflects the vision and best efforts of all involved and to further build on the success of the 2019 edition. Timing for the third edition will shift to fall 2024, and continue thereafter every two years. * Commissioned and invited participants contributing to exhibitions, programs, and residencies include Nadia Belerique, Judy Chicago, Sebastian De Line, Jorge González, Lawrence Abu Hamdan, Brian Jungen, Waqas Khan, Vanessa Kwan, Ange Loft, Mata Aho Collective, Eric-Paul Riege, Camille Turner, and Syrus Marcus Ware. The curatorial team, Tairone Bastien, Clare Butcher, Candice Hopkins, Myung-Sun Kim, and Katie Lawson are coming together to work collectively across projects. The Toronto Biennial of Art is an international contemporary visual arts event that is as culturally connected and diverse as Toronto itself. For 10 weeks every two years, the city is transformed by exhibitions, talks, and performances that reflect the local context while engaging with the world’s most pressing issues of our time. In an effort to make contemporary art available to everyone, the Biennial’s free, citywide programming aims to inspire people, bridge communities, and contribute to global conversations from a variety of perspectives. One year ago today, we launched the inaugural Toronto Biennial of Art, and over the course of 72 days, TBA provided the public with 215 free programs, performances, and events, and free access to 29 commissions and over 100 artworks across 15 sites. And in doing so, we supported artists, participants, and performers from more than 70 places of origin, including 29 Canadian and international First Nations and Indigenous communities, with almost half the Biennial’s participants identifying as Black, Indigenous, and People of Colour. In 2021 we will continue this important work with our second edition set to launch on September 25 and running until December 5, 2021. Mark your calendars! We’ll be sharing exciting news throughout the coming months, so make sure you’re following us on Instagram and Facebook for announcements and information.
Toronto Biennial of Art

MOCA building, 158 Sterling Road
ON M6R 2B2 Toronto

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posted 21. May 2022

Janet Cardiff and George Bures Miller: The Murder of Crows, 2008

17. Feb 202225. Jul 2022
February 17–July 24, 2022 **Janet Cardiff and George Bures Miller: The Murder of Crows, 2008** Matadero Madrid and TBA21, Thyssen-Bornemisza Art Contemporary present The Murder of Crows, a monumental sound installation by Janet Cardiff and George Bures Miller, which was first commissioned by Thyssen-Bornemisza Art Contemporary for the 16th Biennale of Sydney (2008), and is here presented as a celebration of TBA21’s 20th anniversary. The Murder of Crows explores the sculptural and physical attributes of sound through 98 loudspeakers that fill the space of Matadero, emitting voices and music—a soundscape created by a special ambisonic recording and thanks to replay techniques. The installation is conceived like a film or a play in which images and narratives are created via sound. The result is a 30-minute long, three-part work that impacts the listener’s consciousness. The Murder of Crows takes its title from the English term for a flock of crows. It draws on old folk traditions and superstitions, but also the powerful image that generates a “crow funeral”: when a crow dies, “a murder of crows did circle round” as Nick Cave’s song “The Carny” (1986) goes, mourning it. They remain quiet and still for a short time, only to then break into a chorus of shrill calls. Another reference for this piece is Francisco Goya’s etching The Sleep of Reason Produces Monsters from the series “Los Caprichos” (1799). In this suite of etchings, Goya, in the spirit of the Enlightenment, took a critical look at the tyranny, ignorance, and superstition of a socio-political class that had chosen stagnation as their only strategy. He warned: “Imagination abandoned by reason produces impossible monsters.” A call that is still current in a society defined by conflicts, wars, and catastrophes, where power is based, on many occasions, on superstition and populism. Storytelling is at the center of this piece, a place where dreams become the main narrative structure, an ancestral source of wisdom that defies the limits of reality and calls for new readings of the current times. This unique soundscape combines voices, music, and sounds in a narrative about three dreams of conflicts, violence, and loss (and mourning) of a world in crisis, which is at the same time a haunted call for hope. Janet Cardiff, born 1957, and George Bures Miller, born 1960, live and work in British Columbia. They are internationally recognized for their immersive multimedia sound installations and their audio/video walks. They have recently shown at the Museum of Contemporary Art in Monterrey, Mexico (2019); Oude Kerk, Amsterdam (2018); 21st Century Museum of Contemporary Art, Kanazawa, Japan (2017); Fondation Louis Vuitton, Paris (2017); ARoS Aarhus Art Museum, Denmark (2015); Museo Reina Sofía, Madrid (2015); Menil Collection, Houston (2015); 19th Biennale of Sydney (2014); the Cloisters, Metropolitan Museum of Art, New York (2013); and Documenta 13, Kassel (2012). In 2011, they received Germany’s Käthe Kollwitz Prize, and in 2001, represented Canada at the 49th Venice Biennale, for which they received the International Prize and the Benesse Prize. TBA21, Thyssen-Bornemisza Art Contemporary is a leading international art and advocacy foundation created in 2002 by the philanthropist and collector Francesca Thyssen-Bornemisza, representing the fourth generation of the Thyssen family’s commitment to the arts and public service. The TBA21 Foundation—based in Madrid and Vienna, with situated projects in Córdoba and Venice —stewards the TBA21 Collection and its outreach activities, which include exhibitions, public programming, and partnerships with other cultural and civic institutions. In 2011, TBA21 established TBA21–Academy, a cultural ecosystem fostering a deeper relationship to the ocean through the lens of art to inspire care and action. Matadero Madrid Centre for Contemporary Creation is run by Madrid City Council’s Department of Culture, Tourism and Sport. Created in 2006, Matadero is located in the city’s former slaughterhouse and cattle market, a complex that is of great historical and architectural value. Its various spaces host an extensive programme of exhibitions, plays, festivals, concerts, films and audiovisual projects, conferences, conversations and workshops, artistic residencies, educational programmes and activities for families.

artists & participants

Janet Cardiff,  George Bures Miller 
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posted 20. May 2022

Meg Webster. Two Walls 1984/2022

25. Mar 202221. May 2022
March 25–May 21, 2022 **Meg Webster Two Walls 1984/2022** Judd Foundation is pleased to present Two Walls 1984/2022, an exhibition of two works by Meg Webster on the ground floor of 101 Spring Street in New York. For Two Walls 1984/2022, Webster has remade two works, Soft Broch (1984/2022) and Long Gates (1984/2022), which comprised her solo exhibition of the same title at 101 Spring Street in 1984. The two works, Soft Broch and Long Gates, are made from earthen materials, hay and rammed earth, respectively. Based on the simple geometry of a square and a circle, each work is an enterable form, a square in rammed earth and a circle in hay, which function as meeting places. The works were first made in 1983, not long after a nuclear war scare with Russia in fall of that year, and now made again in 2022 at a time of climate crisis and on-going human-caused mass extinction.1 With these grave challenges in mind, the works focus the viewer’s attention on the symbiosis between humans and the natural world. As Webster stated in a 2016 interview, “I want you to love more. I want you to care more…It’s about caring for the structure of nature.”2 Webster began making sculptures in sand in organic and geometric shapes in the late 1970s. Inspired by the work of Donald Judd, Robert Morris, Carl Andre, and Michael Heizer, whom she worked for as an assistant in 1983, Webster also creates large-scale installations that encourage correspondence between natural materials and the body. Soft Broch, the title given to the piece by Judd during installation, is a reference to brochs, Scottish Iron Age roundhouses that were likely used as places of refuge for people and livestock. Judd and Webster met in 1983 during Webster’s tenure as a student in the MFA program at Yale University, likely around the time of Judd’s lecture at the Yale University School of Art on September 23, 1983.3 After seeing her work at Yale, Judd invited Webster to have an exhibition on the ground floor of 101 Spring Street. Two Walls (January 17–February 18, 1984) was Webster’s first solo exhibition in New York City. Webster credits her exhibition at 101 Spring Street with the opportunity to produce her first large-scale outdoor work, Hollow, the following year (1985) at the Nassau County Museum of Fine Art. Webster’s recent exhibition, Wave, at The Arts Center at Governor’s Island (June 12–October 31, 2021) included newly commissioned works and pieces from 1989 to the present. A long-term presentation of Webster’s work will open at Dia Beacon in Beacon, New York in 2023. Two Walls 1984/2022 is part of Judd Foundation’s ongoing exhibition series. Since 2015, Judd Foundation has organized exhibitions of works by Alvar Aalto, John Chamberlain, Dan Flavin, Felix Gonzalez-Torres, Donald Judd, Yayoi Kusama, Richard Long, James Rosenquist, and Lauretta Vinciarelli. These exhibitions continue a practice begun by Judd of using the ground floor as a public exhibition space. During his lifetime, Judd organized exhibitions at 101 Spring Street of the work of Richard Paul Lohse, Yun Hyong-keun, Robert Irwin, and John Wesley among other artists, as well as group exhibitions to benefit the War Resisters League. Two Walls 1984/2022 is made possible with support from Agnes Gund and Paula Cooper Gallery. 1 Nate Jones and David E. Hoffman, “Newly released documents shed light on 1983 nuclear war scare with Soviets,” The Washington Post, February 2021, [Page #], https://www.washingtonpost.com/national-security/soviet-nuclear-war-able-archer/2021/02/17/711fa9e2-7166-11eb-93be-c10813e358a2_story.html; Cowie, R.H., Bouchet, P. and Fontaine, B. (2022), The Sixth Mass Extinction: fact, fiction or speculation?. Biol Rev. https://doi.org/10.1111/brv.12816. 2 “Meg Webster: I Want You to Care More.” Video. YouTube. Posted by Out of Sync, June 2016. https://ww.youtube.com/watch?v=PgZhmsiG1X4. 3 Judd published this lecture as “Art and Architecture” (1983), see Donald Judd Writings (Judd Foundation/David Zwirner Books, 2016). About Meg Webster Meg Webster (b. 1944, San Francisco, CA) has long been guided by an environmentalist impulse to celebrate and preserve the natural world. She produces both indoor sculptures made of salt, earth, sand, and other natural materials, and outdoor installations designed to enhance the community’s appreciation for and understanding of the earth’s ecosystem. Locations of her solo exhibitions include The Mattress Factory, Pittsburgh (1984); the Carnegie Museum of Art, Pittsburgh (1991); The Brooklyn Museum, New York (1992); P.S. 1 Contemporary Arts Center, New York (1998); MoMA P.S. 1, New York (2013); and LMCC Art Center at Governor’s Island, New York (2021). In 2017, Webster participated in the two-person exhibition, Natura Naturans at Villa Panza in Varese, Italy. She also presented her large-scale earthwork, Concave Room for Bees, at Socrates Sculpture Park, commissioned for their 2016 exhibition, “LANDMARK.” Webster lives and works in New York. Two Walls 1984/2022 is made possible with support from Agnes Gund and Paula Cooper Gallery.

artist

Meg Webster 
Judd Foundation, New York

101 Spring Street
New York

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posted 19. May 2022

Blade Memory II - eine Kooperation mit dem CCA Tel Aviv-Yafo

07. May 202231. Jul 2022
7. Mai – 31. Juli 2022 ERÖFFNUNG: 8. Mai, 16-20 UHR Begrüßung: Dr. Matthias Wiese (stellv. Vorsitzender) Einführung: Rebekka Seubert (Künstl. Leiterin) **Blade Memory II eine Kooperation mit dem CCA Tel Aviv-Yafo** PRESSE PREVIEW 20. MAI 2022 11 UHR "Wir freuen uns, Sie am Freitag, dem 20. Mai in den zukünftigen Räumlichkeiten des Dortmunder Kunstvereins zum Pressegespräch anlässlich unserer nächsten Ausstellung zu begrüßen!" Im Rohbau der neuen Kunstvereinsräume, vormals als Versicherungsbüro genutzt, bringt die Ausstellung Blade Memory II Werke einer jungen Künstlerinnengeneration aus Israel mit älteren Werken aus Europa zusammen. Verwaiste Bürogebäude stehen aktuell für eine Zeitenwende: Die Ruinen jener Architektur bieten nun Raum, die Welt in ihrem Status Quo zu betrachten, zu ordnen, zu kontextualisieren. Anstatt zu überwältigen lässt die nüchterne Setzung in einem Arrangement alter Büromöbel die hier ausgestellte Kunst fast beiläufig wirken und gibt ihr außerhalb des Spektakels ihre Eigenständigkeit zurück. Mit Werken von u.a. Max Ernst, Avner Ben Gal, Marianne Berenhaut und einer noch nie zuvor ausgestellten Zeichnung des in Dortmund geborenen Martin Kippenbergers. * Blade Memory beschwört eine schmerzende Erinnerung, eine Erinnerung, die erdolcht. Die Ausstellung befragt die Rolle von Künstlerinnen, deren Gegenwart von der Enttäuschung geprägt ist, die Professionalisie-rung, Corporate Branding und seine Architekturen im individuellen Gefühl der Selbstwirksamkeit hinterlassen. Seit den 1970er Jahren und verstärkt seit der New Economy Ära der 1990er Jahre hat sich die Welt beschleunigt: Verdichtete Innenstädte lassen kaum Raum für individuellen Ausdruck, die Zeitökonomie der Digitalisie-rung erhöht die globale Effektivität und schafft damit nicht weniger sondern mehr Arbeit für die Einen und keine für die Anderen. Die Ausstellung findet im Rohbau der neuen Räumlichkeiten des Kunstvereins statt, die vormals als Versicherungsbüro genutzt wurden. Durch die Pandemie stehen verwaiste Bürogebäude nun für eine Zeitenwende: Die Ruinen der Büroarchitektur der frühen 2000er Jahre bieten Raum, die Welt in ihrem Status Quo zu betrachten, zu ordnen, zu kontextualisieren. Anstatt zu überhöhen und zu überwältigen, lässt die nüchterne Setzung dieser Kulisse die Kunst fast beiläufig wirken und gibt ihr außerhalb des Spektakels die Möglichkeit, ihre Eigenständigkeit zurückzuerlangen. Blade Memory ist eine künstlerkuratierte Ausstellung in zwei eigenständigen Kapiteln: Das erste war 2021 im CCA Tel Aviv-Yafo zu sehen und wir freuen uns nun, Blade Memory II in den neuen Räumlichkeiten des Dortmunder Kunstvereins zu präsentieren. Kuratiert von den Künstlerinnen Naama Arad, I. S. Kalter und Eran Nave, auf Einladung von Nicola Trezzi und Rebekka Seubert. PROGRAMM DO, 19. MAI, 18:30 UHR WORK IN PROGRESS Für Mitglieder & Förderer des Kunstvereins (und alle, die es werden wollen); mit Naama Arad, I. S. Kalter, Eran Nave und Tchelet Ram SA, 21. MAI, 16-20 UHR ERÖFFNUNG Begrüßung: Dr. Matthias Wiese (stellv. Vorsitzender) Einführung: Rebekka Seubert (Künstl. Leiterin) DO, 2. JUNI, 19 UHR KLEINER FREITAG AUSSTELLUNGSGESPRÄCH Ory Dessau (freier Kurator, Gent/Brüssel) im Gespräch mit Rebekka Seubert über das Temporäre, den Zweifel und die künstlerischen Ansätze einer jungen Künstlergeneration aus Israel. DO, 23. JUNI, 19 UHR KLEINER FREITAG LA DERNIÈRE SÉANCE #18 19 UHR: Ausstellungsführung im Kunstverein 20 UHR: Filmvorführung, Kino im Dortmunder U 1341 Bilder von Krieg und Liebe, ISR, UK, USA, 2022 (89’), Regie: Ran Tal Sprache: Hebräisch und Deutsch Untertitel: Englisch SA, 16. JULI, 19 UHR SO, 17. JULI, 17 UHR SLOW READING CLUB mit Bryana Fritz und Henry Andersen für deutsch- oder englischsprachiges Publikum Mit philosophischen und literarischen Texten zur Ausstellung schaffen die Lesesessions des Slow Reading Clubs ein kollektives körperliches Erlebnis: Durch Lichtstimmung, Sound, Interventionen und ein besonderes räumliches Setting werden künstliche Situationen erzeugt, in denen gemeinsam gelesen wird. Anmeldung: visit@dortmunder-kunstverein.de DATUM WIRD NOCH BEKANNTGEGEBEN ONLINE GESPRÄCH & KATALOGRELEASE Katalogpräsentation (Mousse Publishing) und Online Künstler*innengespräch in Kooperation mit dem CCA Tel Aviv-Yafo und dem Büro des Landes Nordrhein-Westfalen für Wirtschaft, Wissenschaft, Bildung, Jugend und Kultur in Israel.
Dortmunder Kunstverein

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

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posted 18. May 2022

Thomas Struth

03. Mar 202221. May 2022
Berlin: Bleibtreustraße 15/16 3 March – 21 May 2022 **Thomas Struth** Galerie Max Hetzler is pleased to present an exhibition with new work by Thomas Struth at the gallery spaces in Bleibtreustraße 45 and Bleibtreustraße 15/16 in Berlin. Revolving around universal questions of our time with a focus on Science, Nature and Portraiture, three major themes from Thomas Struth’s current bodies of work are shown across the two gallery locations in Bleibtreustraße. The first-floor space in Bleibtreustraße 45 is dedicated to photographs taken at CERN, the European Organisation for Nuclear Research. The world’s largest scientifc facility near Geneva carries out research into the origins of the universe with the help of particle accelerators. Struth’s interest in CERN lies in the philosophical questions, the political dimensions and the pictorial possibilities offered by advanced technology. Do these highly complex conglomerates of cables and valves bear the hope for a better future? The CERN cluster displayed here forms part of Struth’s Nature and Politics, a body of work which he has developed since 2007, examining how ambition and human imagination become sculptural, spatial realities. Surrounded by the images of technology, the viewer comes across works which deal with nature. A central room is dedicated to a winter landscape entitled Schlichter Weg, Feldberger Seenlandschaft 2021, with an expansive dimension of 220 x 450 cm. The photograph shows a view of an ordinary country road in Mecklenburg, with which Struth has familiarised himself over the last two years of enforced isolation. Themes such as loneliness, mortality and survival resonate in the landscape’s ambiguity. The profusion of branches underneath freshly fallen snow poses similar visual challenges as the view of the equipment in the engine rooms at CERN. The second gallery space across the street is visible and accessible through wide shop windows. Thomas Struth displays new Family Portraits here, a subject which he has been returning to repeatedly since 1985. More recently, the period of social distancing nurtured the desire to continue working with people. The portraits reveal Struth's special interest in family life with its psychological entanglements. Thomas Struth (*1954, Geldern) lives and works in Berlin. Since 1987, Struth has been exhibiting regularly at Galerie Max Hetzler. Major retrospectives of the artist’s work have been recently held at the Guggenheim Museum, Bilbao (2019) and Haus der Kunst, Munich (2017). In 2016, his comprehensive solo exhibition Nature & Politics was inaugurated at Museum Folkwang, Essen, before travelling to Martin-Gropius-Bau, Berlin; High Museum, Atlanta; Moody Center for the Arts, Houston; and finally to the Saint Louis Art Museum, Missouri. Further important solo exhibitions have taken place at international institutions including MAST Foundation, Bologne (2019); Aspen Art Museum (2018); Metropolitan Museum of Art, New York (2014 and 2003); Kunsthaus Zürich; Museu Serralves, Porto and K20, Dusseldorf (all in 2011); Museo del Prado, Madrid (2007); Museum of Contemporary Art, Chicago (2003); Museum of Contemporary Art, Los Angeles; and Dallas Museum of Art (2002) Thomas Struth’s works are in the collections of The Museum of Modern Art, New York; Guggenheim Museum, New York; Tate, London; Musée National d’Art Moderne, Centre Pompidou, Paris; Art Institute of Chicago; Walker Art Center, Minneapolis; Hamburger Bahnhof, Berlin; Kunsthaus Zürich; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; and Dallas Museum of Art, among others.

artist

Thomas Struth 
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posted 17. May 2022

Guido van der Werve - Palpable Futility

12. Feb 202229. May 2022
Guido van der Werve: Palpable Futility February 12–May 29, 2022 We see a vast expanse of ice with a solitary figure in the middle, trudging along as a huge icebreaker approaches. The short film Nummer acht by Guido van der Werve leaves an indelible impression. Over the past two decades he has amassed an absolutely unique body of work, centred on a personal and philosophical approach to his grand dreams and on a sense of wonderment at the banality of everyday experience. Eye now proudly presents the first retrospective of Van der Werve, featuring a broad selection of his films as well as new work. The exhibition is accompanied by an extensive publication and an in-depth programme in the museum’s cinemas, compiled together with the artist. Romanticism, nature and the sublime are never far away in the world of Van der Werve. We see the central figure, played by himself, as an insignificant and solitary individual in a landscape that overwhelms him. He hikes through spectacular mountain scenery, swims in a majestic river or plays piano on a raft floating across a northern European lake. He also spends a full 24 hours standing on the North Pole as the earth revolves beneath his feet. Van der Werve often films his extreme physical exertions, in which he battles with himself. His accomplishments include an epic triathlon in which he swims, cycles and runs between the church in Warsaw where Chopin’s heart is buried and his official grave in Paris, and a twelve-hour ultramarathon around his own house in Finland. The central figure in his films also has to endure extreme cold, fire and loneliness. In the process, we gain insight into an extraordinary and fascinating life. His extreme and exhausting exploits provoke existential questions about the meaning of life and the utter futility of existence. His films combine autobiographical elements with themes such as classical music, endurance sport, chess and nature. Van der Werve, himself a gifted pianist, composes the music for many of his films. His work, depicting a tiny figure surrounded by overwhelming nature, is often associated with Romanticism. But besides extremes and melancholy, the films are sprinkled with dry wit. Van der Werve is currently working on a new film, Nummer achttien, prompted by his involvement in a serious traffic accident. Highly autobiographical, the film deals with, among other things, his difficult rehabilitation process. The exhibition also features new work taken from Nummer achttien. About the artist Born in Papendrecht in 1977, Guido van der Werve is internationally renowned for films in which he records performances. He studied at the Gerrit Rietveld Academie and spent time in residence at the Rijksakademie van beeldende kunsten in Amsterdam. His work is held in the collections of the Museum of Modern Art, New York; Hirschhorn Museum, Washington, D.C.; Stedelijk Museum Amsterdam; Goetz Collection, Munich; and Museum Boijmans van Beuningen, Rotterdam. His work has been exhibited at the Kunsthalle Basel, MoMA/PS1 and Manifesta, and at the biennales of Venice, Moscow and Istanbul, and has been honoured with the Volkskrant Art Prize, the Prix International d’Art Contemporain from the Foundation Prince Pierre de Monaco, the Charlotte Köhler Prize, the Cobra Art Prize and a Golden Calf for the best short film. Van der Werve lives in Berlin, Amsterdam and Hassi in Finland. Publication An extensive publication featuring texts about and images of all films by Guido van der Werve is published to coincide with the exhibition. Various authors approach the work from different perspectives. Barbara London, former MoMA curator and founder of the museum’s collection of video art, places it in an international art historical context. She acquired Van der Werve’s work for the MoMA. In addition to an interview and a literary contribution, the book includes essays about chess and the role of music, by Jaap Guldemond, Dirk van Weelden, Xander Karskens, Sara Crombach and Marian Cousijn. Publisher: Eye Filmmuseum & naioıo publishers. Editor: Marente Bloemheuvel. Graphic design: Joseph Plateau. Price: 29.95 EUR (hard cover). The book is made possible by Mondriaan Fund en Jaap Harten Fonds Films, talks & events The exhibition is accompanied by a special film programme compiled together with the artist. It features his single-channel work in combination with lectures, discussions, a musical performance and films selected by the artist. Important sources of inspiration such as the performance films of Bas Jan Ader and a performance based on celebrated chess scenes are also included. A special event highlights the images evoked by music. We also venture into Romantic landscapes and explore the limits of the body in sport.
Eye Filmmuseum, Amsterdam

EYE FILM INSTITUTE NETHERLANDS | IJpromenade 1
1031 KT Amsterdam

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posted 16. May 2022

Allora & Calzadilla. Antille

15. Apr 202228. May 2022
April 15th — May 28th, 2022 **Allora & Calzadilla. Antille** Galerie Chantal Crousel is pleased to present Antille* by Allora & Calzadilla. The exhibition brings together three major works that center on the Caribbean where the artists live and work. Grounded in the concrete realities of this complex archipelago, the works in Antille consider how colonialism and ecology intersect with Empire building. Throughout the gallery the artists have installed Penumbra (2020) a virtual landscape that takes the shape shifting qualities of light and shadow as its substance. The projected digital animation recreates the effect of light passing through foliage in the Absalon Valley of Martinique. This tropical forest was the site of a series of now-mythic hikes that took place in 1941 with Suzanne and Aimé Césaire (the Martinican anticolonial poets, theoreticians, and founders of the literary journal Tropiques) and a group of artists and intellectuals fleeing Nazi-occupied France, whose boat had temporarily docked at the West Indian port of Fort-de-France. The refugees included Helena Benitez, André Breton, Wifredo Lam, Jacqueline Lamba, Claude Lévi-Strauss, André Masson, and Victor Serge\**, among others. Penumbra is projected in the gallery at an angle based on a real-time simulation of the sun’s location overhead. The artificial light flickers across the space and intermingles with dancing patterns of the sun passing through clouds moving over Paris. Through this interaction, two disparate places converge and create a paradox of light. Penumbra is complemented by a musical composition by the Grammy-award-winning and Oscar-nominated composer David Lang and inspired by “shadow tones,” a psycho-acoustic phenomenon perceived when two real tones create the semblance of a third. Also installed throughout the space is Graft (2021). Thousands of pink blossoms, cast from the flowers of roble trees (Tabebuia heterophylla), an oak species native to the Caribbean, appear as though a wind has swept them across the floor. The hand-painted petals are reproduced in seven variations or degrees of decomposition, from the freshly fallen to the wilted and brown. Graft alludes to environmental changes that have been set in motion through the interlocking effects of colonial exploitation and climate change. Systemic depletion of Caribbean flora and fauna is one of the primary legacies of colonial rule. Nonetheless, the region remains one of thirty-six biodiversity hotspots, areas that support nearly 60% of the world’s plant, bird, mammal, reptile, and amphibian species but that amount to just 2.4% of the earth’s land surface. In their plastic and unnatural stillness, the flowers in Graft reflect this fragile ecological predicament. Finally on view are three recent works from the artists Electromagnetic Field series, initiated in 2018, which takes electromagnetism, one of the four fundamental forces of nature, as its subject and medium. The artists experiment with electromagnetism to create forms that are at once abstract and referential. They drop iron filings on top of a canvas and place it above an array of copper cables connected to an electrical breaker in their studio in San Juan. When the breaker is turned on, the electrical current forces the particles into an arrangement of shapes and patterns governed by the electromagnetic field. To set them in motion, the taut canvas is continuously tapped which sends the heavy bits airborne and towards the positive and negative poles. Attraction and repulsion, strength and weakness, accumulation and dispersal are some of the tools the artists employ to find formal resolution in the electromagnetic works. However, the rhythmic balance achieved does not mute the pulsing forces that condition the very appearance of the artwork - from stock market cycles to fossil fuel combustions. The parenthetical component of the work’s title, a lengthy sequence of numbers and letters that they took from their studio electric bill refers to the politics related to the generation, ownership, and distribution of electricity. It is part of the artists’ ongoing interest in using electricity in their art to probe the many facets and figures involved in energy consumption in Puerto Rico and beyond, from the oil futures market and transnational holders of the Puerto Rico Electric Power Authority’s bond debt to the local consumers who suffer the consequences of the bankrupt power authority’s fiscal mismanagement. Allora & Calzadilla’s artistic experiments with electromagnetism are in equal part an exploration of formal principals and a way of confronting the complex nexus that is the energy grid. Michelle White, head curator of the Menil Collection in Houston, where the artists presented their critically acclaimed solo exhibition Specters of Noon in 2020 / 21 remarked in the accompanying publication, about Allora & Calzadilla’s particular artistic approach: “From the beginning of their partnership in 1995, the artistic duo have explored how socioeconomic inequalities in our contemporary moment collide with the natural world, with all of its marvels and increasingly frightening and overwhelming phenomena. They delight in this discordant and illuminating interaction, which delves into unlikely connections and ignites revealing conversations. Pulling substances, materials, and sounds out of particular contexts, histories, or sites, these works move the viewer through wildly divergent temporal, material, political, and theoretical terrains.***” --- * The word Antille originated in the period before the European colonization of the Americas, Antilia being one of those mysterious lands which figured on the medieval charts, sometimes as an archipelago, sometimes as continuous land of greater or lesser extent, its location fluctuating in mid-ocean. \** Breton described the Absalon forest in terms that also pertain to the light’s movement fund in Penumbra: “the tangle of these trees that specialize in acrobatics, boost each other into the clouds, leap over cliffs and cut moaning arches over sweet sorceresses under suction cups of sticky flowers.” The gouffre d’Absalon valley in Martinique served in part as inspiration for Lam’s masterpiece, The Jungle. It was his first time visiting a tropical forest, even though he was born and raised in Cuba. Claude Levi-Strauss would go on to write about the transatlantic crossing and his time in Martinique in Tristes Tropiques. André Masson produced a series of drawings based on the Martinican landscape, some of which were published in Breton’s Martinique Charmeuse de Serpents. *\** White Michelle et al., Allora & Calzadilla : Specters of Noon, The Menil Collection, September 26, 2020-June 20, 2021 [Exhibition Catalogue]. Houston, USA: The Menil Collection.
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posted 15. May 2022

Eva Koťátková. My Body is not an Island

11. Feb 202229. May 2022
11.02.2022 -> 29.05.2022 **Eva Koťátková. My Body is not an Island** In her work, Eva Koťátková combines sculptures, objects, collages, costumes and texts into vast, playful, poetic and colorful installations, to suggest how deeply our personal lives are swayed by our social environment. This sway is materialized by complex machineries that constrain the body whilst holding possibilities for its transformation. Taking its cue from surrealist poetry, theatrical devices, psychoanalysis, and certain forms of experimental education, Koťátková’s work develops in tight connection with narrativity – a narration in fragments, scattered across the exhibition like so many hints to decipher; a narration that refers to dreams and the unconscious as powerful conduits for creative energy. My Body is not an Island expands and elaborates upon issues that have been present in the artist’s work for many years. This project, specially conceived to be shown in the nave at the Capc, is shaped like a gigantic body, half-fish, half-human; it both contains and mediates for a myriad of stories, whose entrancing litany will echo throughout the whole exhibition space. With its inscrutable, troubling identity, its way of unfolding like an immersive landscape, accessible to any visitor willing to lend an ear to its many stories, this fragmented body also holds within its belly an impressive assortment of boxes and crates from which beast-like and human-like creatures seem poised to escape. Bodies in flight, transient and transitory, they refuse to be named, cannot be ascribed any label; bodies that won’t keep quiet, they freely express what they feel and what they dream of. The recurring motif of the crate indirectly refers to the history of the Entrepôt Lainé, which was previously used as a warehouse for colonial goods, whilst also taking advantage of the object’s ambivalence – as a symbol both of mobility and movability from one place or state to another, and of normativity and codification, typifying our urging desire to put everything into neat little boxes, to contain, as it were, our fear of chaos. The installation proposes a platform opened in empathy to those whose voices – human, vegetal, animal – are reduced to silence, whose condition is challenged, and who undergo forced labelling and stigmatisation. Every Sunday during the course of the exhibition, My Body is not an Island will be dwelled-in and activated by performance artists, who will share with the visiting public the different stories it contains: that of a child bullied at school, of a snake shedding its skin, or of a bush torn away from its native surroundings to be replanted in a residential suburb. The installation will function as a platform for exchanges and discussion where meetings with an array of specialists – in underwater biology, animal behaviour and philosophy – and associations fighting for the dignity of all beings will be proposed. As a whole, the spirit of the installation seems to rest upon the cry for life uttered by one of its protagonists: “I dream of a body bestowed with many skins.” Curator: Sandra Patron

artist

Eva Kotatkova 

curator

Sandra Patron 
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posted 14. May 2022

Igshaan Adams - Kicking Dust

05. Feb 202222. May 2022
Igshaan Adams Kicking Dust 05.02–22.05.2022 Die Kunsthalle Zürich zeigt die erste grosse Einzelausstellung von Igshaan Adams in Kontinentaleuropa. Sie wurde im Frühsommer 2021 in der Londoner Hayward Gallery gezeigt. Die Ausstellung Kicking Dust funktioniert wie ein Park, der uns aufnimmt und mit Alltäglichem, Wünschen, Geschichten und vielen Gegensätzen umgibt. Ein Film, entstanden in Zusammenarbeit mit Nowness, Hayward Gallery und Kunsthalle Zürich, gibt Einblick in das Denken des Künstlers. Igshaan Adams Kunst spricht von Herkunft, Religion und Sexualität und verbindet Naheliegendes, Entferntes und scheinbar Widersprüchliches. Gewobene Teppiche, filigrane Skulpturen und raumgreifende Gebilde überbrücken Gegensätze, sie spinnen Fäden, halten zusammen und weben am Denken. Seine Kunst ist abstrakt und poetisch, sie fusst in konkreten Erfahrungen, vereinnahmt die Besucher\*innen und lässt ihnen doch Raum und Ruhe zur Reflektion. So erinnert Kicking Dust an einen Garten oder einen Park, der von sichtbaren und unsichtbaren Wegen, Wünschen und Erinnerungen durchzogen ist. Igshaan Adams, (\*1982) lebt und arbeitet in Cape Town, Südafrika. Seine Biographie ist, wie Adams in Interviews sagt, von der Erfahrung geprägt, dass in einem Menschen, aber auch in Gesellschaften, sehr vieles zusammenkommt – vieles, was sich scheinbar nicht verbinden lässt oder sich gegenseitig auszuschliessen scheint. Adams ist 1982 in Bonteheuwel, einem segregierten Township in Cape Town, geboren, der zwischen 1961 und 1964 angelegt worden war. In Zeiten der Apartheid wurden Schwarze und «Farbige», d.h. Menschen von gemischter Ethnizität, in verödete Stadtteile zwangsumgesiedelt. Als Kreole mit malaiischen Wurzeln als «Farbiger» klassiert, wuchs Adams als praktizierender Muslim bei christlichen Grosseltern auf. Als bekennender Homosexueller besetzt er in ebendieser religiösen Gemeinschaft eine fragile Stellung. Kicking Dust ist u.a. von improvisierten, von Menschen angelegten Pfaden inspiriert. Auch «Wunschlinien» genannt, verbinden sie Stadtteile wie jene zwischen Bonteheuwel und Langa, womit sie Gemeinschaften zusammenbringen, die sich aus rassistischen und religiösen Gründen eigentlich feindlich gegenüberstehen. Adams Kunst ist jedoch nie die Illustrationen seiner persönlichen Biographie. Sie bebildert nichts, sie ist nicht figurativ oder anekdotisch, sondern abstrakt – und dabei überaus gegenständlich. Material ist zentral, in Adams' Fall Schnüre, Glasperlen, Plastik, Holz, Seide, Muscheln oder Stoffe, die zu grossen Teppichen oder raumgreifenden Installationen verwoben werden. Teilweise werden sie vom Künstler selber gefertigt, oft jedoch unterstützen ihn Frauen, die Webtechniken beherrschen, welche ihnen über Generationen weitergegeben wurden. Über diese Zusammenarbeit fliessen Traditionen, Vorstellungen aber auch persönliche Geschichten anderer in sein Werk ein. Weben ist eine uralte Technik und ein traditionsreiches Handwerk, es ist einfach und gleichzeitig komplex, es erfordert viel Sorgfalt und Geduld und ist immer zeitintensiv. Weben ist günstig und effektiv, es erlaubt Recycling und übertriebenen Luxus, es kann eindringliche Bilder erzeugen, auch wahnsinnige Schönheit. Vor allem aber ist Weben transparent, denn jedes Element bleibt unabhängig bestehen und doch fest eingebunden: eine Glasperle bleibt eine Glasperle, aber im Verbund mit anderen wird sie zu etwas Neuem. Weben vereint, ohne Unterschiede aufzulösen. Daraus entstehen Bildräume und begehbare Räume, die uns als Teilnehmende einschliessen wie eine Perle. Die Besucher\*innen werden Teil des Prozesses und bleiben doch autonom. Ausstellungen von Adams sind deswegen Räume für Erfahrungen, diese können körperlich sein, ästhetisch, transzendent oder gar religiös, in jedem Fall sind sie eindrücklich. Der Titel der Ausstellung, Kicking Dust (Staub aufwühlen), bezieht sich auf einen indigenen südafrikanischen Tanz, dem Adams als Kind bei den Nama Gemeinschaft seiner Grosseltern in der Provinz Nordkap beiwohnte. Der Tanz, der als «Tanzen im Staub» beschrieben wird, ist ein ritueller Werbungstanz, während dessen die Tanzenden Staubwolken aus dem trockenen Boden aufsteigen lassen. Diese werden in der Ausstellung von wolkenartigen, von der Decke hängenden Skulpturen aus spiralförmigem Draht und Perlen verkörpert. «Staub aufwühlen» kann als Sinnbild für Kunst überhaupt verstanden werden, als eine Aktivität, die viel Staub aufwirbelt. Staub ist nichts, Staub ist alles, er ist, wie die Zeit, unwichtig-wichtig. Kuratiert von Tarini Malik und Marie-Charlotte Carrier (Hayward Gallery) und Daniel Baumann (Kunsthalle Zürich). Die Ausstellung wurde von der Hayward Gallery, London, in Zusammenarbeit mit der Kunsthalle Zürich organisiert.

artist

Igshaan Adams 

curator

Tarini Malik 
Kunsthalle Zürich

Limmatstr. 270
8005 Zurich

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posted 13. May 2022

Aljoscha. Wesen für Frieden und Freiheit

13. May 202231. Jul 2022
opening: 13. May 2022 07:00 pm
Kunstmuseum Gelsenkirchen - Alte Villa Fr., 13.05.2022 bis So., 31.07.2022 Eröffnung: 13.5. 19:00 **Aljoscha. Wesen für Frieden und Freiheit** Aljoscha, mit bürgerlichen Namen Aleksey Alekseevich Potupin, ist geboren 1974 und aufgewachsen im Osten der Ukraine, im Bezirk Sumy, nahe der russischen Grenze. Sein Vater ist Russe, seine Mutter Ukrainerin. Nach einem Wirtschaftsstudium wendet er sich der bildenden Kunst zu, die er, wie er es formuliert, für spannender hält. Seit 2003 lebt und arbeitet er in Düsseldorf als freischaffender Künstler, nachdem er zunächst an der Düsseldorfer Kunstakademie als Gasthörer bei Konrad Klappheck und darauf bei der internationalen Sommerakademie in Salzburg bei Shirin Neshat studiert hatte. Sein künstlerischer Arbeitsschwerpunkt liegt auf Skulpturen, Objekten und Installationen. Er schafft dabei zartfarbige, filigrane Gebilde, Objekte und Rauminstallationen aus Plexiglas und Kunststoff, die einen Eindruck von schwebender Beweglichkeit und flirrender Lebendigkeit vermitteln, die an zarte, transparente, zerbrechliche, sowohl pflanzliche als auch tierische Organismen erinnern. Diese seine künstlerische Ausdrucksweise bezeichnet er selbst als Biofuturismus, die Werke als Bioismen, als utopisch-ästhetische Schöpfungen unbekannter, neuer oder zukünftiger potentieller Lebensformen. Der Ausstellungstitel „Wesen für Frieden und Freiheit“ bezieht sich auf diese Ausdrucksweise, ist aber auch bedingt durch die biografischen Bezüge des Künstlers sowie auf die aktuelle weltpolitische Lage. Dabei geht es Aljoscha nicht um einen Aufruf zur bewaffneten Solidarität mit seiner angegriffenen Heimat, nicht um die allgegenwärtige Forderung nach Waffen und militärische Unterstützung für die Ukraine. Ganz im Gegenteil, als überzeugter Pazifist lehnt er bewaffneten Wiederstand um jeden Preis kategorisch ab. Er selbst würde, wie er sagt, als ukrainischer Präsident sofort kapitulieren, denn jedes einzelne Leben, das durch den Abwehrkrieg verloren geht, wiegt für ihn schwerer als die in seinen Augen oft allzu formelhaft beschworene Freiheit. Der russischen Aggression, der Kriegsrhetorik beider Seiten, der drohenden Katastrophe begegnete Aljoscha am Vorabend des Krieges, am 23. Februar, mit einer künstlerischen Performance, mit einer, wie er es formuliert, pazifistischen Intervention. Völlig nackt, als Ausdruck seiner Wehrlosigkeit und Schutzlosigkeit, trat er einem Kriegsdenkmal in Kiew sowie bereits davor aufgefahrenen Panzern, mit gekreuzten Armen und nur „bewaffnet“ mit zwei seiner zarten, rosa eingefärbten bionistischen Objekte, entgegen. Ein symbolischer Akt, um die martialische Aura von Denkmal und aufgefahrenen Waffen, um deren kriegerische Botschaft mit den Mitteln der Kunst und des Humanismus quasi zu bannen und zu neutralisieren. https://www.aljoscha.org/english/b-meetings/2022-Ukraine/intervention.html

artist

Aljoscha  
Kunstverein Gelsenkirchen

im Kunstmuseum Gelsenkirchen / Alte Villa, Horster Str. 5-7
45897 Gelsenkirchen

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posted 12. May 2022

KATRIN HORNEK. METABOLIC TRIPS

12. May 202202. Jul 2022
Ausstellung: JesuitenFoyer, Bäckerstraße 18, 1010 Wien 12. Mai – 02. Juli 2022 Eröffnung am 11. Mai 2022 um 18 Uhr im JesuitenFoyer Zu den Arbeiten spricht Gustav Schörghofer SJ. **KATRIN HORNEK. METABOLIC TRIPS** PLANT PLANT „Plant Plant“ wurde von Katrin Hornek als ortsbezogene Installation und Interaktion konzipiert. Präsentiert wurden ein Film und eine Reihe von Skulpturen, die das chemische Element Stickstoff als Prisma nutzen, um die Geschichte der Düngemittelproduktion mit ihren unmittelbaren und planetarischen Verflechtungen zu betrachten. Die Künstlerin stützt ihre Recherche auf den Ort der ehemaligen Montecatini Fabrik in Sinich, Meran, einer 1924 von Benito Mussolini gegründeten Produktionsstätte für Ammoniak – ein Grundbestandteil von Düngemitteln und Sprengstoffen. Zum Zeitpunkt ihrer Errichtung war diese Fabrik die zweitgrößte weltweit – nach der deutschen IG Farben – und Teil eines strengen Industrialisierungsprogramms Südtirols sowie auch der Versorgungssicherheit Italiens. Mit einem spekulativen Ansatz spürt Katrin Hornek den technologischen Entwicklungen nach, die 1911 zur Erfindung des synthetischen Stickstoffs führten, und verschränkt sie mit den Geschichten der lokalen Fabrikarbeiterinnen in den den 1920ern bis heute. Durch die Entscheidung, sowohl aus einer molekularen Perspektive als auch aus der des Bodens die Geschichten zu erzählen, wird die ansonsten unsichtbare Wechselbezüglichkeit und Kontinuität zwischen menschlichen, landschaftlichen, tierischen und technischen Körpern fassbar. "Wir schicken diese Düngemittel los. Wir holen dafür Stickstoff aus der Atmosphäre in die Fabriken, aus den Fabriken auf die Felder, vom Boden in die Pflanzen, von den Pflanzen in die menschlichen Körper, in die Körper der Nutztiere. So nähren wir Wachstum, nähren wir Pflanzen, bauen wir Zellen auf, Pflanzenzellen, Tierzellen, ihre Zellen. Was macht das schon für einen Unterschied? So werden alle Proteine geschaffen, alle Hormone, die DNA ¬– für die explodierende Weltbevölkerung." kommentiert die Stimme im Film. (Text: Katrin Hornek und Sabina Holzer). Plant Plant verfolgt diese Wege bis hin zur heutigen Verwendung von Ammoniak und den Folgen seiner Herstellung, die der Expansion der chemischen Industrie einen fruchtbaren Boden bereiten. FACTORY WALK Parallel zur Ausstellung in Bozen entwickelte die Performerin Sabina Holzer auf Einladung von Katrin Hornek eine choreografierte Intervention – einen Factory Walk – in der ehemaligen Montecatini Fabrik. Ziel war es den Besucherinnen eine körperliche Erfahrung zu ermöglichen. Eine Begegnung ihrer körpereigenen Proteine mit der ehemaligen Düngemittelproduktionsarchitektur, die diese produziert haben könnte. Der Factory Walk erweitert die Recherche von „Plant Plant“ und verschränkt die Boden- und die molekulare Perspektive mit der physischen Begegnung des Ortes, um unsere Sinne und Vorstellungskräfte zu öffnen. Er zeigt Entsprechungen zwischen organischer und anorganischer Materie, zwischen dem natürlichen, dem kulturellen und dem industriellen als miteinander verbundenen Körpern auf, die wir teilen und deren Teil wir sind. DAUER ÖFFNUNGSZEITEN Do und Fr 16 – 18 Uhr, Sa 11 – 13 Uhr, an Feiertagen geschlossen INFORMATION https://jesuitenkunst.at, gustav.schoerghofer@jesuiten.org, T +43 699 10 72 75 08 https://www.katrinhornek.net http://www.otto-mauer-fonds.at EINTRITT FREI

artist

Katrin Hornek 
Otto Mauer Fonds, Wien

Währinger Straße 2-4
A-1090 Vienna

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posted 11. May 2022

Tina Braegger. Wer wagt mit mir ein Tänzchen, der wird sich verrenken

04. Mar 202222. May 2022
opening: 04. Mar 2022 07:00 pm
04.03.2022 — 22.05.2022 Eröffnung: Freitag 04.03.2022 ab 19 Uhr **Tina Braegger. Wer wagt mit mir ein Tänzchen, der wird sich verrenken** Die Malerei von Tina Braegger gibt sich leicht zugänglich und ist es vielleicht auch, bleibt dabei aber dennoch eine der hintersinnigeren und avaciertesten Positionen innerhalb des aktuellen Malereidiskurses. Seit 2016 malt Braegger ausschließlich Bären, genauer gesagt jene Marching Bears, welche mit der Band The Grateful Dead assoziiert werden. Seit dem ersten Aufkommen 1973 auf einem LP-Cover wurden die Bären von den Fans der Band, den Deadheads, in unzähligen Versionen weiterentwickelt. Braegger setzt an diesem Impuls vernakulärer Kreativität an und wendet ihn durch die malerische Aneignung des Zeichens in ein ganz eigene Richtung: Die bewusste Begrenzung des eigenen Aktionsrahmens zieht eine intensive Ausbeutung der technischen und symbolischen Bedingungen des Bärenmotivs nach sich, was in einer für Malerei ungewohnten Zwanglosigkeit resultiert. Wobei Braegger die diesem Medium eigenen Spielchen mit Referenzen, Medienbewusstsein und historischer Positionierung ebenfalls beherrscht, sie allerdings zumeist sardonisch vorführt. Die Ausstellung im Kunstverein, die erste institutionelle Einzelausstellung der Künstlerin, verbindet ausgewählte ältere Arbeiten mit neuen, hier erstmals gezeigten Bildern. Der Zusammenschluss genau dieser Bilder wird inhaltlich geklammert durch eine starke Betonung von Tod, Todestrieb, Todessehnsucht, - allesamt Themen, die in den Arbeiten der Künstlerin grundsätzlich präsent, wenn auch nicht immer vordringlich sind. Gleichzeitig gibt die Auswahl aller inhaltlichen Engführung zum Trotz Braeggers malerischen Witz und ihre stilistische Bandbreite auf angemessen unterhaltsame Weise wieder. Tina Braegger (*1985) lebt und arbeitet in Berlin. Neben zahlreichen Beteiligungen an Gruppenausstellungen im In- und Ausland hatte sie Einzelausstellungen bei WeissFalk, Basel/Zürich; Société, Berlin; Friends Indeed, San Francisco und Meredith Rosen Gallery, New York, sowie eine Ausstellung mit Sturtevant bei De 11 Lijnen, Belgien.

artist

Tina Braegger 
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posted 10. May 2022

Federico Herrero: Tactiles

09. Mar 202221. May 2022
opening: 09. Mar 2022 06:00 pm
09.03.2022–21.05.2022 Opening reception 09.03.2022 18:00 – 20:00 **Federico Herrero: Tactiles** Kunsthalle Lissabon presents Tactiles, the first solo show in Portugal by the Costa Rican artist Federico Herrero. The word “tactil” derives from the ancient Greek "haptikós" which literally means “able to come in contact with”. Herrero's ability to come in contact with the surroundings goes far beyond simple physical contact, on the contrary it often begins with the simple gaze that delicately, brushes the surfaces that compose the cities and captures their most intense vibrations. Tactiles is conceived as a site-specific painting, where primordial architectural structures give a new rhythm to the use of the exhibition space, that becomes a support to the artist’s practice where colors seem to emerge spontaneously from the space itself, inserting landscapes within landscapes and creating something that seems to have always been there. Known for his colorful and playable site-paintings Herrero’s research hides its roots in the urbanism and in the accurate observation of landscapes, cities, and of all the shapes and colors that silently populate them while shaping the visual culture of each place building a dialogue that sometimes sounds more like an argument. Being influenced by the shapes that sprinkle everyday life, the artist embraces the freedom in which colors, forms and culture collide to create a language free from any kind of sketches and preset ideas. However, nothing is left to chance in Herrero's research, indeed, every color and every shape are part of a precise sense of the site, using the intuition as the main tool, and sometimes the vocabulary of the abstract expressionism to build his visual poetry. He begins by following a feeling and takes it to its maximum expression often reaching a monumental approach. Herrero captures the fragmentated and multifaceted nature of urban landscapes in a few simple elements, not only depicting a precise moment, but conveying a unique sense of duration, that include its continuous evolution and its adaptation to external factors. Looking at Federico Herrero's work, one does not have the impression of looking at a crystallized image, but, as John Berger wrote to describe Paul Strand photographs “one has the strange impression that the exposure time is the life time”. - Federico Herrero (1978, San José) lives and works in San José, Costa Rica. In 1998 he attended studies at Pratt Institute, New York and since 2001, he has presented numerous international solo exhibitions and public installations in cities such as New York, São Paulo; San Francisco; Dusseldorf, Germany; Kanazawa, Japan; Tokyo; Mexico City; and London. Recent major projects include: The sun and the moon, Mendes Wood DM, Brussels (2021); Barreras Blandas, Museo Nacional de Costa Rica, San Jose (2020); Tempo aberto, Museu de Arte Contemporânea de Niterói, São Paulo (2019); Open Envelope, Witte de With, Rotterdam, the Netherlands (2018); and Alphabet, a site-specific installation for the atrium of the Museum of Contemporary Art Chicago (2018). Herrero received the Young Artist’s Prize at the 49th Venice Biennale (2001) and his work is in the permanent collection of numerous institutions including the Tate Modern, London, UK; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; and the Guggenheim Museum, New York, NY. Herrero is also the founder of Despacio, and member of cero uno, both contemporary art spaces in his native San José, forces in the continued development of Central America’s artistic voice. Kunsthalle Lissabon is kindly supported by República Portuguesa / DGArtes, Câmara Municipal de Lisboa, Coleção Maria e Armando Cabral.
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posted 09. May 2022

Louise NEVELSON. OUT OF ORDER: The Collages of Louise Nevelson

24. Mar 202229. Jul 2022
24.03.–29.07.2022 Opening: Thursday, March 24, 2022 **Louise NEVELSON OUT OF ORDER: The Collages of Louise Nevelson** Gió Marconi is pleased to announce the opening of a major survey exhibition of Louise Nevelson’s collages, curated by Yuval Etgar, at its newly refurbished space on via Tadino 15, Milan, and the publication of a new book – a collaboration between Fondazione Marconi and Mousse Publishing. The project is organised with the support of the Louise Nevelson Foundation, Philadelphia, and will mark the 60th anniversary of Nevelson’s representation of the United States at the 31st International Art Exhibition of La Biennale di Venezia in 1962. Louise Nevelson is one of the 213 artists invited to the 59th International Art Exhibition of La Biennale di Venezia, The Milk of Dreams, curated by Cecilia Alemani. Louise Nevelson’s legacy in the fields of sculpture and collage-making has long been associated with her ability to transform the traditional environment of the home from a symbol of feminine sensibility, domestication and intimate scale to a monumental expression of creative freedom. In her quest to achieve this, however, Nevelson also pioneered a new, ecological approach to art-making, according to which every element of the home is used for the creation of her work. From the larger, three-dimensional parts of old furniture that the artist acquired in bulk, to smaller and often more perishable items such as cardboard, paper, woodcut rejects and doorknobs, Nevelson’s choice of materials was a clear expression of a ‘waste not’ ideology. Her process began with the homes whose contents she procured, continued with its recycling in the form of sculpture, and ended with the obsessive making of her most valued thinking tools – collages – using an extraordinary range of materials from her own home and studio. But as the exhibition OUT OF ORDER argues through a close examination of her collages, Nevelson’s fundamental mode of art-making was not disorganised as her all-inclusive aesthetic might suggest. She developed distinct groups of works relying on specific materials, strategies and formal questions that preoccupied her. As she herself declared on more than one occasion, ‘The way I think is collage.’ This project therefore sets out to establish new grounds for debate, scholarship and analysis of Nevelson’s work in collage, and in effect also in sculpture, by following the proposition of collage historian Yuval Etgar to divide Nevelson’s collages according to certain key attributes. These rely on material composition and technical approach, and include categories such as ‘containers’, ‘use of spray paint’, ‘torn papers’, ‘offcuts’ and the inclusion of ‘utility objects’, thereby inviting visitors and readers to explore the spectrum of creative potential that Nevelson recovered from the debris of everyday life. NEVELSON’S COLLAGES IN CONTEXT Louise Nevelson was born in Pereiaslav, near Kiev, Ukraine, in 1899. She emigrated to the United States with her family in 1905, settling in Maine. In the 1930s she travelled to Europe, studying with Hans Hofmann in Munich before joining the Art Students League in New York. Nevelson then had her first one-person exhibition with Nierendorf Gallery, New York, in 1941. In the early 1950s she travelled to Guatemala and Mexico to explore the legacy of pre-Columbian cultures, an experience that would come to influence her practice profoundly. In 1967, following a one-person exhibition at the Whitney Museum of American Art and several outdoor public commissions, Nevelson achieved recognition as one of the leading voices in North American sculpture. Yet her unexpected combinations of found objects, paper and materials from the domestic environment linked her work more closely to a lineage of artists who explored the links between collage, assemblage and sculpture-making, from predecessors Kurt Schwitters and Jean Arp to contemporaries Robert Rauschenberg and John Chamberlain. Nevelson’s collage works can be found in the collections of numerous major museums across the United States and Europe, including the Whitney Museum of American Art, New York; the Hirshhorn Museum and Sculpture Garden, Washington DC; the Walker Art Center, Minneapolis; Tate Modern, London; Galleria Civica d’Arte Moderna e Contemporanea, Turin; the Louisiana Museum of Modern Art, Humlebæk; the Moderna Museet, Stockholm; and Museum Ludwig, Cologne. ABOUT THE BOOK Out of Order: The Collages of Louise Nevelson is the first comprehensive study dedicated exclusively to Louise Nevelson’s work in collage. The book, published as a collaboration between Fondazione Marconi and Mousse Publishing, takes as its point of departure a close material and technical examination of this body of work, before setting out to position the role of collage in the artist’s practice more broadly. The book consists of two main essays: the first by art historian and curator Yuval Etgar, who divides Nevelson’s output in collage into six main categories, linking these to parallel tendencies in collage during the 1950s and 1960s as well as to earlier examples in the history of this practice. The second essay, by technical art historian Pia Gottschaller, delves into Nevelson’s complex process of selecting object materials for her collages, and analyses her methods of working and treating these materials. The book includes more than 250 colour plates of collages by Nevelson from various collections worldwide.
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posted 08. May 2022

Lifes

16. Feb 202208. May 2022
Lifes February 16–May 8, 2022 Lifes began as a consideration of the promises and pitfalls of interdisciplinary artmaking and the legacy of the so-called total work of art (Gesamtkunstwerk)—a concept originating in the 19th century that proposes a synthesis of poetic, visual, musical, and dramatic arts. The notion of interdisciplinarity has since become a mainstay of contemporary art museums and other presenting organizations, and it is now commonplace for dance, music, and other performing arts to be employed in the service of capturing the attention of audiences and promoting a collaborative ethos. Rather than assume that cross-disciplinary collaboration is a recipe for innovation and creative enrichment, Lifes acknowledges the inherent incompatibilities at play between traditional artistic disciplines and within the spaces of art’s display. The genesis of Lifes was the written contributions of four writers; their texts form the basis of the exhibition and its accompanying publication. The invitations to philosopher and author Fahim Amir, writer and director Asher Hartman, poet and visual artist Rindon Johnson, and author and essayist Adania Shibli came with no preconceptions about how their writing would manifest within the galleries of the museum. Aside from allusions to examples in which language prefigures other art forms—such as the libretto, script, or scenario—it was a relatively open-ended solicitation meant to harness their divergent interests. Spanning literary genres and styles, their texts question who or what has the right to agency, the incompatibility between physical bodies and the spaces that govern them, and the aesthetic misgivings between sensory experiences. The texts—available in full in the exhibition publication—permeate the galleries of the museum as fragments, references, and utterances that test the limits of audibility and legibility. These writings served as catalysts for conversations with individuals from various disciplines, which then spawned new creative relationships. From there, more collaborators—visual artists, choreographers, composers, musicians, vocalists, and other writers—were invited to engage in a shared dialogue and produce new works for the exhibition. The list of contributors is therefore the result of an organic process of growth and adaptability in which contributors suggested the participation of others while maintaining a dialogue with the exhibition’s curator, who managed the dynamic interplay of relations. Many overlapping themes emerged, including the translation and mediation of language and the idea of the audience as a material substance inseparable from public exhibitions. Given that the voice is a readymade carrier for words, many conversations skewed toward undermining the reliability of oration and considering what a voice in ruin might sound and feel like. Additional contributors were invited to address the overall institutional infrastructure that imparts itself onto one’s encounter with art in the museum context. In addition to these commissions, the exhibition also incorporates preexisting artworks, dating from 1993 to 2016, by L. Frank, Charles Gaines, Piero Gilardi, and Rosemarie Trockel. These four artists offer a generational framework that situates the other works in the exhibition within art histories of the recent past. Lifes is conceived as a durational sequence that unfolds over time and changes at various moments throughout its course. A cycle of audio, video, and live performance repeats at the top of each hour, but there is no singular or optimal way to experience the exhibition—intermittent dance and music performances interrupt the implied stability of the schedule. The whole assembly becomes an orchestrated cacophony of disparate parts and competing interests. Any moments of dissonance that arise within the container of the exhibition reflect the lived conditions and working methods of artists across disciplines. Contributors Fahim Amir, Holland Andrews, Elke Auer, Gregory Barnett, Kevin Beasley, Nina Beier, Dwayne Brown, Dora Budor, Burnt Sugar the Arkestra Chamber, Varinia Canto Vila, Elaine Carberry, Sophia Cleary, Kaydence De Mere, L. Frank, Kaye Freeman, Shannon Funchess, Charles Gaines, Ley Gambucci, Abriel Gardner, Piero Gilardi, Jules Gimbrone, Paul Hamilton, Asher Hartman, IONE, Shannon Jackson, Cooper Jacoby, Narissa Johnson, Rindon Johnson, Darrell Jones, Morag Keil, Justin F. Kennedy, Jessika Kenney, Hanieh Khatibi, Bob Kil, Kite, Wayne Koestenbaum, Ralph Lemon, Adam Linder, Tiffany Malakooti, Alucard Mendoza McHaney, Olivia Mole, Roderick Murray, Mariama Noguera-Devers, Nima Nourizadeh, Okwui Okpokwasili, Pauline Oliveros, Aubrey Plaza, Senyawa, Adania Shibli, Micah Silver, Samita Sinha, Meg Stuart, Greg Tate, Mike Taylor, Rosemarie Trockel, Andros Zins-Browne. Catalogue This volume anthologizes the contributions from Lifes and includes commissioned texts by Fahim Amir, Asher Hartman, Rindon Johnson, and Adania Shibli that formed the foundation of the exhibition; scholarly contextual essays by Shannon Jackson, Aram Moshayedi, and Greg Tate; an oral history compiled and edited by Nicholas Barlow that documents the many conversations among contributors; and illustrations by artist Olivia Mole.
Hammer Museum, Los Angeles

UCLA / ARMAND HAMMER MUSEUM | 10899 Wilshire Blvd.
CA-90024 Los Angeles

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posted 07. May 2022

Ryan Foerster

26. Mar 202211. May 2022
opening: 26. Mar 2022
Saturday, March 26th - Wednesday, May 11th, 2022 OPENING RECEPTION SATURDAY MARCH 26TH **Ryan Foerster** Martos Gallery is pleased to present a new solo exhibition by Ryan Foerster, opening Saturday March 26th. Martos now represents Foerster in collaboration with Clearing Gallery. Ryan Foerster’s exhibition with Martos (his first since 2012) will examine the artist's wide-ranging practice through the prism of his photography. This show will highlight works from the last decade in which Foerster excavates technical slippages in the photographic medium and the apparatus of the camera, achieving plastic effects through manipulating and embracing faded emulsion, deteriorated film, defective lenses and chance occurrences in the darkroom. In a serial arrangement of photograms, for instance, Foerster manipulates a set of objects’ incremental movement through space, echoing Muybridge while eschewing shutter speed or documentation of real space. Another photograph, created with expired film, depicts an abstract, centripetal rush of fluorescent dots on a black field, creating the impression the viewer is throttling into space. Foerster will also present his sculpture, which similarly harnesses the incidental and the defective. A series of aluminum casts will serve as a three-dimensional analogs to the filmic process, underscoring the parallel use of negative space and form by each method. Foerster's body of work is relentlessly self-referential, but rather than as a modernist gesture of cold reflexivity, Foerster’s looping motifs reflect an ethos of preservation and renewal, with compost being a guiding theme both aesthetically and operationally throughout his work. Foerster’s Martos exhibition will coincide with his solo exhibition at the Harry and Virginia Murray Art Gallery, Southeastern Community College, Iowa, on view through April 15th, entitled Vienna Sausage.

artist

Ryan Foerster 
MARTOS GALLERY New York

41 Elizabeth Street
NY 10013 New York

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posted 06. May 2022

Alexandra Leykauf & Dominik Styk - What We Do in the Shadows

19. Feb 202215. May 2022
Alexandra Leykauf & Dominik Styk What We Do in the Shadows 19.02.–15.05.2022 Kuratiert von Annette Hans Die GAK Gesellschaft für Aktuelle Kunst freut sich, das Jahr 2022 mit der Doppelausstellung What We Do in the Shadows von Alexandra Leykauf (\*1976) und Dominik Styk (\*1996) zu beginnen. Ausgangspunkt sind die verschiedenen Blickwinkel aus denen sie Perspektiven und Größenverhältnisse thematisieren, Erwartungen und Standpunkte von Betrachter\*innen hinterfragen. Einmal von der Fotografie einmal von der Skulptur ausgehend verschränken sich jeweils Auge und Körper. Es geht dabei weder um Bild oder Ding an sich, sondern um die Zugänge zu ihnen und die sich darin zeigenden oder verschiebenden Hierarchien, Projektionen und Wünsche. Alexandra Leykauf arbeitet mit oftmals fotografischen Bildgebungsverfahren. Verbindend in ihren Arbeiten ist die Frage nach der Beziehung, die das Bild zur Betrachter*in, zum Kontext und zum Raum unterhält. Wichtig ist hierbei der Blick als kommunikatives aber auch täuschungswilliges Element, wie in Pareidolie oder Trompe-l'Œil. Seit langem an Landschaft und Horizont als unmissverständlichem Bezugspunkt des Subjekts interessiert, trennt Leykauf seit einiger Zeit jene Landschaftsbilder aus Publikationen heraus, die sie zurück anblicken. Die Seiten bearbeitet sie mit Fotoemulsion, so dass aus dem Landschaftsbild ein Gesicht hervortritt und ein Gegenüber als neues Bild entsteht. Solche Gegenüber finden sich auch in den weiteren Arbeiten der Ausstellung: in Fotogrammen zwischen Glastüren, einem Video, das die Tierskulpturen in Berlins öffentlichem Raum animiert, oder einem Fuchsrelief. Sie alle nehmen eine Verschiebung von Perspektiven vor, in denen der menschliche Blick mehr sieht als nur ein Objekt im Bild und die in seinen Blick eingeschriebenen Hierarchien sich verschieben. Tragen Fuchs und Türen bei Alexandra Leykauf eindeutige Referenzen auf Körpergrößen, sind die Arbeiten von Dominik Styk deutlich kleinformatiger. Seine Skulpturen und Installationen erzählen ihre Narrative oftmals in Bodennähe und entwickeln dort eigenwillige Landschaften und Horizonte. Dominik Styk formt mit einer einfachen aber effektiven Nähtechnik fremdartige und gleichzeitig vertraute Gebilde. Mal entsteht die Form nur aus Stoff, mal ummantelt er alltägliche Gegenstände und natürliche Elemente wie Wurzelstöcke. In einem Doublebind aus Aneignung und Entfremdung entstehen durch die Wiederholungen der Stiche eng geraffte Stoffkörper, die beispielsweise noch an einen im Inneren steckenden Kuscheltierelefanten erinnern mögen, ihn aber dabei überwuchern wie Pilze oder Moose. Diese in der Natur omnipräsenten Strategien sind einer Symbiose oder organischen Koexistenz ähnlich, die attraktive, oft glänzende Oberfläche der Stoffe allerdings bleibt als künstliche Konstruktion deutlich sichtbar. Das Material Stoff lässt an menschliche Körper denken, zumal manche Objekte auch tragbar sind und von Styk gelegentlich in Performances genutzt werden. Die Stoffobjekte haben Öffnungen und Durchgänge und bilden so mögliche Behausungen und Nester für unbestimmte Wesen. Gleichzeitig sind sie selbst oft wesenhaft, wie im Fall des genannten Elefanten, so dass Verhältnisse zwischen Subjekt und Objekt, von nutzend und dienend, konstruiert und gefunden, sich auflösen zugunsten von Verflechtungen. Der von Styks Arbeiten vielfältig bevölkerte Raum entwickelt sich so als fiktive Landschaft, die sich wie eine zweite Ebene in den Raum schiebt. In ihr finden sich Gegenüber, Spuren, Schatten, Konstellationen, Wünsche und Begehren. Den Backdrop der Ausstellung bildet eine großformatige Plakatarbeit von Alexandra Leykauf, sie zeigt ein Schaffell auf dem ein Laptop steht. Auf dem Screen ist ein Bild zu sehen, das den Übergang zwischen dunkler Höhle und umgebender Landschaft in Lascaux zeigt. Die Grenze markieren der Schattenriss eines Baumes und zwei menschliche Silhouetten. Der gesamte vordere Teil des Bildes verliert sich im Schwarz des Höhlenraums und mit ihm auch die eindeutigen Zuschreibungen. Dass Lascaux dank aufwändiger bildtechnischer Reproduktionsverfahren gleich mehrfach existiert (derzeit I-IV), ist dabei beinahe nur ein Surplus. So geht es in What We Do in the Shadows immer wieder um die Frage, wohin der Blick uns führt, was wir sehen und was uns verborgen bleibt, beziehungsweise was noch gesehen werden könnte und aus welcher Perspektive.

artists & participants

Alexandra Leykauf,  Dominik Styk 

curator

Annette Hans 
GAK Gesellschaft für Aktuelle Kunst, Bremen

GAK Gesellschaft für Aktuelle Kunst Bremen | Teerhof 21
28199 Bremen

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posted 05. May 2022

GÖTTINNEN

04. Feb 202229. May 2022
Eröffnungswochenende: 4. – 6. Februar 2022, freier Eintritt Laufzeit: 4. Februar – 1. Mai 2022, verlängert bis 29. Mai 2022 GÖTTINNEN Fest: Samstag, 30. April 2022, 18 Uhr **GÖTTINNEN** Ursula Beiler, Karrabing Film Collective, Emeka Ogboh, Elisabeth von Samsonow, Tejal Shah Wie können wir andere Wege beschreiten, die uns guttun wie wir ihnen? Wie können wir handeln, ohne zu kategorisieren, vermessen und bewerten? Wie können wir Energiefelder in ihrer Pluralität genießen, statt sie in einem allwissenden Zentrum zu verorten, das über uns wacht und straft? Was, wenn wir mit Resonanzen arbeiten statt mit Zurichtung? Welche Frequenzen senden wir aus und welche empfangen wir? Was, wenn wir durchlässig werden für eine Logik der Göttinnen, die keine Gestalt haben, aber dennoch als diverse Kräfte wirken, die individuelle Eigenheiten fördern und im Hinblick auf das große Ganze integrieren? Was, wenn wir anerkennen, dass das Einzigartige immer integraler Teil des Allgemeinen ist und erst daraus resultiert? Was, wenn wir Freude schöpfen aus der Bewegung der anderen und des Anderen? Was, wenn wir verstehen, dass wir zum Anderen dazugehören so wie das Andere zu uns? Was, wenn die Nächsten alle und alles sind, das uns umgibt? Wollen wir das Göttinnen nennen? Und warum braucht es diese Haltung so dringend? Um diesen Fragen nachzugehen, agiert die Ausstellung GÖTTINNEN ungewöhnlich. Die Logik von Ganzheit, Teil, Anfang und Ende wird aufgebrochen. Aber diese Strategien sollten nicht mit den Göttinnen verwechselt werden, sie sind nur ein Spiel in einer Situation, in der wir spielen sollten, um Gelerntes zu unterbrechen. Ein kleiner erster Schritt, um unser gemütlich fälschliches Gleichgewicht kurzzeitig herauszufordern. Irgendwo müssen wir anfangen – warum nicht hier, bei uns und jetzt? Die Ausstellung wird vor Ihren Augen wachsen, die Arbeiten stehen für sich, ohne Erklärung. Sie dürfen ihnen selbst begegnen, ohne Angst und ohne Brutalität – einfach mit ihnen sein, die Göttinnen im Rücken. Sie sind eingeladen, mehrmals. Die Ausstellung wird prozessual entstehen. Die Arbeiten von Elisabeth von Samsonow, dem Karrabing Film Collective, Tejal Shah und Emeka Ogboh ziehen im Zwei-Wochen-Rhythmus nach und nach ins TAXISPALAIS ein, dazwischen zeigt Ursula Beiler Performances. Das Publikum erhält mit einem Ticket viermaligen Zutritt. Es kann dem Aufbau der Arbeiten beiwohnen und wird über Newsletter informiert, sobald eine neue Arbeit fertig installiert ist. Ende März wird die Ausstellung vollständig sein und wir laden erneut zu einem Pressetermin. Zum Finissage-Wochenende feiern wir ein Fest, sofern die Pandemie es zulässt. Kuratiert von Nina Tabassomi

curator

Nina Tabassomi 
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