daily recommended exhibitions

posted 14. Jun 2021

Federico Herrero. Night Blue

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

Poststr. 2 / Poststr. 3
40213 Dusseldorf

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posted 13. Jun 2021

Artes Mundi 9

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

National Museum Cardiff | Cathays Park
CF10 3NP Cardiff

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posted 12. Jun 2021


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

40549 Dusseldorf

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posted 11. Jun 2021

Katharina Grosse: Chill Seeping from the Walls Gets between Us

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

Eteläinen Rautatiekatu 8
00100 Helsinki

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posted 10. Jun 2021

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

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

601 Turner Blvd
GA 31401 Savannah

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posted 09. Jun 2021

Glasgow international 2021

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

Trongate 103
G1 5HD Glasgow

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posted 08. Jun 2021

Allora & Calzadilla: Specters of Noon

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


Michelle White 
Menil Collection, Houston

Sul Ross 1509
77006 Houston

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posted 07. Jun 2021


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

Cézanne Drawing

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


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

MOMA | 11 West 53 Street
NY-10019 New York

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posted 05. Jun 2021

Elfie Semotan. Haltung und Pose

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


Elfie Semotan 

Untere Weißgerberstraße 13
A-1030 Vienna

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posted 04. Jun 2021


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


Carl Mannov 
OVERGADEN Copenhagen

Overgaden Neden Vandet 17
DK-1414 Copenhagen

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posted 03. Jun 2021

Yayoi Kusama - Eine Retrospektive

23. Apr 202115. Aug 2021
**23.04.2021 - 15.08.2021** Yayoi Kusama Eine Retrospektive Yayoi Kusama zählt zu den bedeutendsten japanischen Künstler*innen der Gegenwart. Vom 19. März bis 1. August 2021 widmet der Gropius Bau Kusama erstmals in Deutschland eine umfassende Retrospektive, die zentrale Schaffensperioden aus über 70 Jahren nachzeichnet und die Bedeutung ihres künstlerischen Werks in Europa und insbesondere Deutschland hervorhebt. Die Werkschau präsentiert auf einer Fläche von rund 3000 m² neben originalgetreuen Rekonstruktionen zentraler Ausstellungen einen neuen Infinity Mirror Room, aktuelle Gemälde sowie eine eigens für die Ausstellung geschaffene Installation, die im Lichthof des Gropius Bau gezeigt wird. Ein wesentliches Anliegen ist es, den künstlerischen Kosmos Kusamas und die Entwicklung ihres Schaffens von frühen Gemälden und akkumulativen Skulpturen hin zu immersiven Erlebnisräumen erfahrbar zu machen. Die Ausstellung entsteht in enger Zusammenarbeit mit der Künstlerin und ihrem Studio und stellt auch ihre bislang wenig beachtete künstlerische Aktivität in Deutschland und Europa in den Fokus. Den Schwerpunkt der Retrospektive im Gropius Bau bilden Rekonstruktionen von acht Ausstellungen aus den Jahren 1952 bis 1983, durch die sich die Entwicklung ihres genreübergreifenden Schaffens nachvollziehen lässt. Yayoi Kusama hatte sich seit Beginn ihrer künstlerischen Laufbahn stets intensiv mit kuratorischer Inszenierung auseinandergesetzt und wegweisende Präsentationsformen entwickelt, die im Rahmen der chronologisch angelegten Ausstellung zugänglich gemacht werden. In den ersten Räumen werden ihre Ausstellungen Yayoi Kusama Solo Exhibition und Yayoi Kusama Recent Works (1952) in ihrer Heimatstadt Matsumoto gezeigt, in denen sich bereits Anfänge der Gestaltung von immersiven Raumsituationen wiederfanden. Darauf folgt mit Aggregation: One Thousand Boats Show das erste Environment, das Kusama 1963 in New York präsentierte und das ihre bis heute anhaltende Auseinandersetzung mit (Selbst-)Auflösung und Unendlichkeit vorwegnahm. Zentrales Element dieser Ausstellung war ein mit weißen Stoffphalli übersätes Ruderboot, das auch in der mehrteiligen Driving Image Show (1964) zu sehen war – dort allerdings mit weiteren akkumulativen Skulpturen (Accumulations) gruppiert, die jeden Winkel der Galerie zu überwuchern schienen und den Raum vollständig einnahmen. In der 1965 in New York gezeigten Floor Show – Phalli’s Field werden rot-weiß gepunktete Stoffphalli mit weiteren Accumulations in einem etwa 25 m² großen, vollständig verspiegelten Raum arrangiert – Kusamas erstem Infinity Mirror Room, in dem sie in einem roten Ganzkörperanzug posierte. Spätestens zu diesem Zeitpunkt wird ihre künstlerische Persona und Präsenz zu einem integralen Bestandteil jeder Ausstellung und Performance; darüber hinaus enthält die in New York erstmals präsentierte Arbeit sämtliche Schlüsselelemente ihres Œuvres: Stoffphalli, Punkte und Spiegel, die einen immersiven Erfahrungsraum bilden. Im zweiten Teil der Driving Image Show, die 1966 in Essen gezeigt wurde, waren neben den bereits bekannten weißen Accumulations vergoldete Objekte zu sehen. Die Künstlerin hatte längere Zeit auf diese Ausstellung hingearbeitet und damit ihre künstlerische Präsenz in Europa begründet. Im selben Jahr setzte sie auch ihre Ausstellungstätigkeit in New York fort und präsentierte mit Kusama’s Peep Show or Endless Love Show ihren zweiten Infinity Mirror Room. Der hexagonale Raum, den die Betrachter*innen lediglich durch zwei Gucklöcher betrachten konnten, kam ohne Objekte aus und evozierte nur durch in variierenden Konstellationen blinkende Lichter Kusamas Prinzip der obsessiven Unendlichkeit. Die letzte Rekonstruktion im Gropius Bau bietet darüber hinaus Einblicke in Kusamas spätere Ausstellung Encounter of Souls, die 1983 in einem alternativen Veranstaltungsraum in Tokyo zu sehen war und bereits zu diesem frühen Zeitpunkt zentrale Werkgruppen und Schaffensperioden zusammenbrachte. Die Ausstellungsrekonstruktionen werden im Gropius Bau durch eine Zeitleiste erweitert, an der sich auch Yayoi Kusamas bisher kaum beachtete Orientierung in Richtung Deutschland und Europa ablesen lässt. So wurden ihre Arbeiten bereits 1960 neben Künstlern wie Lucio Fontana, Otto Piene und Yves Klein in der bedeutenden Gruppenausstellung Monochrome Malerei in Leverkusen gezeigt, wofür sie sich selbst im Vorfeld aktiv eingesetzt hatte. Dies legte den Grundstein für ihre zunehmende Rezeption in Europa, wo sie ihre Werke in den Folgejahren unter anderem in Amsterdam, Bern, Den Haag, Essen, Mailand, Rotterdam, Stockholm, Turin und Venedig präsentierte. Mittels intensiver Recherche eröffnet die Retrospektive im Gropius Bau so eine neue Perspektive auf die Ausstellungsgeschichte der Künstlerin und für die deutsche Kunstgeschichtsschreibung. Ergänzt wird diese Chronologie durch dokumentarisches Foto- und Filmmaterial, das die performative Dimension von Yayoi Kusamas Arbeiten aufzeigt und eine umfassende Kontextualisierung ihres Schaffens ermöglicht. Dabei wird auch der revolutionäre Charakter von Kusamas Fusion aus Mode, Kunst sowie Performance und Happening deutlich, dessen künstlerische Ausdrucksmittel in den sozialpolitischen Bewegungen der 1960er und 1970er Jahre verwurzelt sind. Eine besondere Rolle kommt der kontinuierlichen Selbstinszenierung Yayoi Kusamas in ihren Arbeiten zu, durch die sie die Grenzen zwischen Subjekt und Objekt, Innen und Außen, Körper und Umgebung verwischte – und so auch eine Zeit reflektierte, in der Leben und Kunst zu verschwimmen begannen. Ihren eigenen Körper setzte die Künstlerin in ihrem Werk als einen Platzhalter ein, der für die Körper der Betrachtenden stand und sich als Antizipation der Selfiekultur – des Strebens danach, selbst im Bild zu sein – lesen lässt. Kusamas Wunsch nach Verschmelzung mit ihren Arbeiten fiel dabei immer auch mit der Auflösung des Selbst, dem Aufgehen in der Unendlichkeit zusammen, die bis heute ihr Schaffen prägen. „Punkte sind ein Weg in die Unendlichkeit. Wenn wir die Natur und unsere Körper durch Punkte auslöschen, werden wir Teil der Einheit unserer Umwelt. Ich werde Teil des Ewigen, und wir löschen uns selbst in Liebe aus.“ — Yayoi Kusama, 1968 „Wir freuen uns, mit Yayoi Kusamas Retrospektive das Schaffen einer visionären und radikalen Künstlerin präsentieren zu können. In den 1960er Jahren nahm Kusama durch ihre genreübergreifende Praxis nicht nur eine singuläre Stellung im damaligen Kunstbetrieb ein, sondern trug mit ihren politischen Statements auch zum feministischen Diskurs ihrer Zeit bei. In ihren Werken lassen sich schon früh Themen identifizieren, die bis heute relevant sind – von weiblicher Ermächtigung bis hin zu bewusster Selbstinszenierung. Wie präsent Kusama in Deutschland war und wie ihre künstlerische Entwicklung seit den 1950er Jahren verlief, wird anhand von Rekonstruktionen wegweisender Ausstellungen nachvollziehbar, die Kusama damals bis ins Detail selbst gestaltete. Ein Anliegen der Retrospektive im Gropius Bau ist es, ihre künstlerische Persona in den Blick zu nehmen und herauszuarbeiten, welch bedeutende Rolle sie innerhalb eines internationalen Netzwerks aus Künstler*innen, Kunstkritiker*innen, Kurator*innen und Galerist*innen einnahm.“ — Stephanie Rosenthal, Direktorin des Gropius Bau Yayoi Kusamas Werk war Gegenstand zahlreicher internationaler Ausstellungen, ihre Arbeiten wurden u. a. im Boston Institute of Contemporary Art (2020); Matsumoto City Museum, Nagano (2019); Fosun Foundation, Shanghai (2019); MUSEUM MACAN, Jakarta (2018), Queensland Art Gallery | Gallery of Modern Art, Brisbane (2017–2018); National Gallery Singapore (2017) Museum and Sculpture Garden, Washington D.C. (2017); Louisiana Museum of Modern Art, Humlebaek (2015); Fundacion Malba, Buenos Aires (2013); Whitney Museum of American Art, New York (2011–2012) und im Tate Modern, London (2011) gezeigt. 2017 wurde das Yayoi Kusama Museum in Tokio eröffnet. Die Retrospektive des Gropius Bau wird anschließend im Tel Aviv Museum of Art (Israel) zu sehen sein. Die Ausstellung Yayoi Kusama: Eine Retrospektive wird kuratiert von Stephanie Rosenthal und organisiert vom Gropius Bau in Zusammenarbeit mit dem Tel Aviv Museum of Art.


Yayoi Kusama 
Gropius Bau, Berlin

MARTIN GROPIUS BAU | Niederkirchnerstraße 7
10963 Berlin

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posted 02. Jun 2021

Sasha Huber

09. Apr 202122. Aug 2021
Sasha Huber a solo exhibition 09.04.2021 - 22.08.2021 For her first solo exhibition in The Netherlands, artist Sasha Huber presents over a decade’s worth of work prompted by the cultural and political activist campaign Demounting Louis Agassiz. Founded in 2007 by Swiss historian Hans Fässler, the campaign seeks to redress the legacy of the Swiss-born naturalist and glaciologist Louis Agassiz (1807–1873). As a member of the Demounting Committee, for her part, Huber has staged numerous interventions at terrestrial and extraterrestrial sites that bear his name, of which there are eighty in total. She uses performance, photography and film, among other media, to investigate colonial residues left in the environment. As part of the exhibition, Huber sets out to un-name the Agassiz Ice Cap on Ellesmere Island in Nunavut—one of the largest in Canada at 21,000 km2—in collaboration with Inuit throat singers Cynthia Pitsiulak and Charlotte Quamaniq. The exhibition of Sasha Huber is co-produced in collaboration with The Power Plant Contemporary Art Gallery, Toronto, Canada, and is organized by Rosa de Graaf from Kunstinstituut Melly and Justine Kohleal from The Power Plant.


Sasha Huber 
Kunstinstituut Melly, Rotterdam

Witte de Withstraat 50
NL-3012BR Rotterdam

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posted 01. Jun 2021

Anne Imhof

21. Apr 202129. Aug 2021
Anne Imhof 21.04.2021 - 29.08.2021 SMK presents Anne Imhof’s first major film-based work to date. Composed of footage created during the first chapter of her performance cycle Sex at Tate Modern in March 2019, it furthers Imhof’s exploration of “moving images” central to her acclaimed performance pieces. While adhering to the overall dramaturgical chronology of the performance and matching its durational quality, this new work follows a logic of its own as sequences are slowed down or scenes shot during different performance days, both with and without an audience in attendance, are fused together. The cast of Sex is made up of a core group of performers Imhof has been working with collaboratively over many years, complemented here by a second group of models and guest-starring musicians. Despite bursts of movement and noise, the film is marked by a sense of stillness. Its original score draws on music written by Imhof in collaboration with Eliza Douglas, who performs most of the songs, and Billy Bultheel. The music has been rearranged and deconstructed to become a character in itself rather than simply functioning as a soundtrack. Solo compositions by both Imhof and Douglas form yet another level of metamorphosis from the source material. Sex is shown alongside a new suite of paintings and a sculpture. The filming and editing was realized with the help of Lola Raban-Oliva and JR Etienne. The exhibition at SMK marks the film’s premiere and is the fourth chapter of Imhof’s Sex cycle, the first three having unfolded in exhibitions at Tate Modern in London, the Art Institute of Chicago, and Castello di Rivoli in Turin. About x-rummet Since 2001, x-rummet has functioned as SMK’s platform for contemporary art where artists have been invited to produce site-specific new works. SMK is proud to have Anne Imhof’s exhibition conclude the programme. SMK wishes to thank the Obel Family Foundation for its continuous support of x-rummet.


Anne Imhof 
SMK Statens Museum for Kunst / National Gallery of Denmark, Copenhagen

DK-1307 Copenhagen

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posted 31. May 2021


29. Apr 202105. Jun 2021
extended until June 5th, 2021 Location: Knesebeckstraße 90, 10623 Berlin KRISENPOESIE 29 April - 2 May 2021 11 am – 7 pm Thorsten Brinkmann, Bernhard Frue, Joachim Grommek, Inge Krause, Axel Loytved, Ewa Partum
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posted 30. May 2021

Aldo Giannotti - Safe and Sound

05. May 202105. Sep 2021
Aldo Giannotti. Safe and Sound Curated by Lorenzo Balbi with the assistance of Sabrina Samorì 5th May - 5th September 2021 Safe and Sound, a solo exhibition by Italian artist Aldo Giannotti, curated by Lorenzo Balbi with the curatorial assistance of Sabrina Samorì, is hosted in the Chimneys Hall of MAMbo - Museo d'Arte Moderna di Bologna from 5th May to 5th May - 5th September 2021, after the postponements and a long wait caused by the Covid-19 emergency. The project, the winner of the 8th edition of the Italian Council competition, devised by the Directorate-General for Contemporary Creativity (DGCC) of the Ministry of Culture to promote Italian contemporary art around the world, contemplates notions of safety and security considered from different perspectives. Ranging from the fundamental, existential aspect of safety, to regulations of the social sphere, to the technological impact on the field of security, the exhibition invites visitors to reflect upon their own position towards these concepts. Regulations, laws and given behaviour settings of different social contexts provide the content to Giannotti's confrontation with said notions. The exhibition welcomes visitors into a space for exercising potential alternatives and challenges them to bend their perception of regulations and their own behaviour and decision-taking processes within deeply embedded structures. Security is defined as the freedom of danger. Giannotti asks what freedoms we give up in order to obtain our safety and probes the paradoxical nature of this negotiation between freedom and security. Our current reality turns precisely such questions into a daily practice and forces us to find answers collectively. Investigating these topics, the exhibition merges the museum's microcosm with the broader social environment. Drawings lie at the core of Giannotti's artistic practice. However, the activation or realization of such concepts often take shape in the form of installations, performances, video works or the readaptations of spatial structures. Safe and Sound is partly set up as an intervention on the architectural structure of the museum itself in order to rethink the museum space and the way visitors interact with it. The paths created by Giannotti's structural interventions within the museum take account of the specific nature of the building whilst producing a completely personalized adaptation, which forced the museum institution itself to participate in the reshaping of norms, both conceptually and literally. The exhibition however is not just an intervention on the spatial structure of the building but also a way to explore the network of relations that define a museum experience as such. It is also strange to realise how a project conceived in 2019, when the Covid-19 threat was an unimaginable scenario for everyone, had already prophetically identified its main theme of investigation in the dialectic between the concepts of security and freedom, in a horizon that extends from the microcosm of the museum to the wider social context. When the restrictions linked to controls, prescribed routes, social distancing and protective equipment were still reserved for specific and limited areas, and no one could foresee their explosion and consequent spread into every aspect, however banal, of everyday life, Aldo Giannotti and the exhibition curators thought of a layout that would provide "forced routes", establishing a precise order in a space normally experienced with minimal limitations, with the possibility of constructing a completely personal experience from the (potentially) infinite ones available. Creating a forced route that includes supporting materials and sets of rules in addition to the works aids in the successful orientation and comprehension of the location. The exhibition thus raises a series of questions about how a museum can be experienced and what interactions take place within it, in an experience that is never "objectively determined", but is experienced subjectively and inevitably influenced by the role played from time to time by the individual players: central to Aldo Giannotti's work in this sense are the museum stewards, the embodiment of the concept of safety, the protagonists of the most immediate relationship with the public, bearers of the "can" and "cannot" do. The museum stewards and a "manual" of instructions on how to relate to visitors, created by Aldo Giannotti, are the constituent elements of The Museum Score, the performance-work that won an award from the Italian Council and is destined for the MACRO in Roma. The theme of these individuals protecting places and people also returns in other works, such as Vis a Vis, which exchanges the position of two different types of guards (Swiss Guards and Russian Soldiers) in front of their respective places of worship, or Security I, a large-scale photograph depicting the artist in an embrace with a security guard. What strikes the visitor are undoubtedly some large-scale works that substantially deconstruct and modify the space, again focussing on safety issues. The Column, which from inside the hall appears to be an inaccessible room-column, can in fact be visited by entering directly from Via Don Minzoni, through an unusual route that mixes inside and outside, general public and specialist public, pushing the limit that a museum must necessarily set between inside and outside. Moreover, the works set up in "other" spaces such as the atrium and the foyer also play on the inside/outside relationship, and if on the one hand they recall museum practices, on the other they question them, starting with the writing on the reception desk, a veritable loop for curators and contemporary artists: make another exhibition in order to be able to make another exhibition in order to be able to make another exhibition… Just behind the crates the ideas rejected for the exhibition are shown, while in the space above the lockers you are invited to leave your work inside one of the available compartments in order to be able to say that you have exhibited at MAMbo. The theme of the loop is also proposed just before entering the exhibition space, with two neon lights inside the round alcoves that remind us of the old façade of the Ex Forno del Pane. One of the most impressive interventions is the staircase around the inner chimney of the Chimneys Hall. This new architectural element, which can be accessed by visitors, invites us to cross a well-known boundary in museum spaces, the boundary between temporary exhibitions and permanent collections, suddenly and unexpectedly making it permeable. The staircase has a reference (though not in terms of its form) to the original redevelopment project of the Ex Forno del Pane designed by the Italian architect Aldo Rossi, in which the ground floor communicated with the upper floor of the MAMbo through a staircase located in this very area: the idea was later abandoned in favour of a separation between the two levels. In Giannotti's case, the staircase will be demolished at the end of the exhibition, but it will leave a trace of itself, as the passage to the collection will not be walled up again but will remain transparent, thanks to a sheet of glass that will preserve visual communication between the two floors of the building. On glancing up, the public will be able to observe a series of large site-specific drawings that the artist will create in the bays of the room, while there are several video stations in the smaller areas of the exhibition space. Among these, Mutual Surveillance prompts us to reflect on how surveillance can be a mutually shared action. The work is realised in a specular game of collaboration with a museum on the other side of the world that bears the same name as MAMbo: MAMBO, Museo de Arte Moderno de Bogotá, currently under the direction of Eugenio Viola. In the two museums a video-surveillance system has been put in place that allows us to monitor from Bologna, 24 hours a day, what is happening in a room of the Colombian museum, and vice versa, in Colombia, we will be able to observe what is happening here. In a different way, the gallery in the first room, from which one can observe the projection of a similar exhibition space, where other visitors enter, take their seats and in turn stop to watch a similar projection, also returns to the theme of reciprocal surveillance. It is only later that we understand who and what we are really looking at. Visitors to the exhibition will be continually prompted to take action in the exhibition space: in Filling Time, it will be possible to tick off the boxes of the days in a huge calendar, marking the passage of time and one's presence; with Chainsaw you are challenged to take the work away using an electric saw; in The Staircase small drawings placed at a great height can only be approached and seen by climbing up special wheeled ladders; The stationary point in the evolution of a system, through a series of statistics and a tilting platform, offers a representation of the impossibility of a real balancing of social differences. Performing the Museum also relates to the public through 12 boxes, arranged in the exhibition and in the collection, containing a series of postcards giving detailed instructions on actions to be taken, contrary to the rules normally applied in a museum, questioning not only the prescribed rules but also oneself, one's role as a visitor and one's established relationship with the works. The visiting experience thus maintains its own dimension of autonomy, but at the same time expands the space for sharing, and therefore for comparison, between the place's different users. Starting from an exercise within the museum, an alternative meaning of the concept of safety is outlined, in contrast to that imposed by media communication and political practice. Finally, the exhibition space also includes a performance area that will host the Collateral Events curated by Giannotti himself, who has invited other artists to present their work in relation to the theme of the exhibition. Leaflets will be available in the exhibition space announcing the dates of the interventions, which will take place throughout the duration of the exhibition in compliance with the anti-Covid-19 regulations. They will also be announced on the website www.mambo-bologna.org. The performance space will be extended to Linz (Austria), where Aldo Giannotti will realize Performing the Museum thanks to the collaboration with OÖ Landes-Kultur GMBH. In parallel with the exhibition, Welcome & Goodbye (304 pp, in English with Italian translation), monograph on Aldo Giannotti, published by Mousse Publishing. Alongside a selection of his main works, critical essays by Emanuele Guidi, Elsy Lahner and Giorgio P. explore the poetics and career of the artist, while Lorenzo Balbi's interview concludes with a focus on the Bologna exhibition. It is precisely from the latter that it is worth quoting a brief consideration by Balbi on Giannotti's work, constantly changing in time and context, difficult to expose and based on processuality: “(…) they never end and undergo continuous and infinite evolutions that take them from drawing to performance, photography, video, even many years after the initial idea, and this is a unique identifying feature”. The originality of Safe and Sound leaves us with the knowledge that the most important thing has in fact already happened, before it was set up and opened: the impact that the design idea itself has had on the conventions that dominate the museum environment, which have been questioned, challenged, brought into play and, perhaps, surpassed. The exhibition is part of Bologna Estate 2021, the summer program of events promoted by the Municipality of Bologna and  the Tourist Destination of the Metropolitan City of Bologna. Artist biography Aldo Giannotti (Genoa, 1977) is a visual artist who has lived and worked in Vienna since 2000. He studied at the Academy of Fine Arts in Carrara, the Wimbledon University of Arts in London and the Academy of Fine Arts in Munich. His works have been exhibited and created in collaboration with numerous institutions, including: Albertina Museum, Vienna; Kunsthalle Wien, Vienna; Lentos Kunstmuseum, Linz; OK-Zentrum, Linz; Kunsthaus Graz; Kunstraum Niederösterreich, Vienna; ar/ge kunst, Bolzano; Künstlerhaus Dortmund; Museum der Moderne, Salzburg; Austrian Cultural Forum, London; Donaufestival, Krems; Muzeum Sztuki, Łódź; Museum of Contemporary Art, Zagreb; MAMbo - Museo d'Arte Moderna di Bologna. He is represented by Projektraum Viktor Bucher, Vienna. He has received multiple awards and grants, such as the Pollock-Krasner Foundation Grant (2020), the first prize of the Austrian Graphic Art Competition, Kunsthalle Innsbruck (2019), the Pomilio Blumm Prize, Milan (2015) and the STRABAG Artaward Recognition Prize, Vienna (2016). www.aldogiannotti.com Technical Sheet Exhibition: Aldo Giannotti. Safe and Sound Curated by: Lorenzo Balbi with the assistance of Sabrina Samorì Promoted by: Istituzione Bologna Musei | MAMbo - Museo d’Arte Moderna di Bologna Venue: MAMbo - Museo d’Arte Moderna di Bologna Via Don Giovanni Minzoni 14 | 40121 Bologna (IT) Opening dates: 5th May - 5th September 2021
MAMbo Bologna

Via Don Minzoni 14
I-40121 Bologna

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posted 29. May 2021

Journey Through a Body

29. May 202101. Aug 2021
opening: 28. May 2021 03:00 pm
Journey Through a Body Kate Cooper, Luki von der Gracht, Christina Quarles, Nicole Ruggiero, Tschabalala Self, Cajsa von Zeipel 29.05.2021 – 01.08.2021 Eröffnung Die Ausstellung Journey Through a Body untersucht Körperwahrnehmungen und -verständnisse im Kontext von Geschlechtsidentitäten und Selbstidentifikation. In den Werken von sechs jungen, aus diversen und internationalen Perspektiven auf den menschlichen Körper und seine Identitätsfragen schauenden, KünstlerInnen werden so, auf sehr verschiedene Weise und in vielfältigen Medien, spannende Fragestellungen zu Gender- und Identitätskonzepten diskutiert. Die Ausstellung wird kuratiert von Gregor Jansen und Alicia Holthausen, kuratorische Assistenz: Juliane Hoffmanns Journey Through a Body ist der Name einer 1981 in Rom entstandenen LP der Industrial-Musik-Pioniere Throbbing Gristle, das in Deutschland im April 1982 als erste Veröffentlichung beim Label Walter Ulbricht Schallfolien erschien. Sie handelt von der frühen Reise und Düsternis in Medizin und Psyche und liefert hiermit auch der Ausstellung den Titel und die Grundlage für die Suche nach dem Ich. Zur Ausstellung ist ein die Ausstellung und das Begleitprogramm ergänzender und dokumentierender, zweisprachiger Reader geplant. Begleitend zur Ausstellung entsteht ein umfangreiches Veranstaltungs- und Vermittlungsprogramm, in dem sich die BesucherInnen selbst auf diversen Ebenen (von informativ bis interaktiv), in diversen Formaten (Workshops, Performances und Lectures) und in diversen Medien (Tanz, Literatur, Fotografie, Textil, Theater u.a.) mit dem Thema Körper auseinandersetzen können. In einem Open Call for Participation lädt die Kunsthalle Düsseldorf EinzelkünstlerInnen, Gruppen, Initiativen, Vereine und Kollektive ein, sich mit ihren Projekten für eine Beteiligung am Begleitprogramm zur Ausstellung zu bewerben: Weitere Informationen dazu finden Sie hier.
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posted 28. May 2021


01. Apr 202129. Aug 2021
April - August 29, 2021 REGINA. DELLA SCULTURA Regina Cassolo Bracchi Curated by Chiara Gatti and Lorenzo Giusti The first major museum retrospective dedicated to Regina Cassolo Bracchi, one of the most fascinating figures of the European artistic panorama of the twentieth century. Arising from the purchase of a major set of works by the artist by the GAMeC and the Centre Pompidou of Paris, the exhibition brings together two hundred and fifty works along an exhibition itinerary that covers a fifty-year artistic career. The exhibition opening date and the visiting procedures will be made known as soon as possible, on the basis of the government national pandemic guidelines. Bergamo, 22 March 2021 – As it waits for the chance to reopen its doors, Bergamo’s GAMeC announces the first retrospective in an Italian museum dedicated to Regina Cassolo Bracchi, in art Regina (May 21, 1894 – September 14, 1974), one of the most fascinating, innovative, and to this day lesser-known figures of the European artistic panorama of the twentieth century. The display will be set up for viewing from the start of April, ready to open to the public in complete safety as soon as permitted to do so in keeping with government guidelines. The exhibition, curated by Chiara Gatti and Lorenzo Giusti, arises from the purchase by the GAMeC and the Centre Pompidou of Paris of a major set of works by the artist, and – from her debut in the 1920s through to the early 1970s – aims to analyze the formal reflection of a unique personality, one who has wrongly remained in the margins of history and who has now been rediscovered as a complex, experimental, versatile, and poetic figure. The Paris museum will also dedicate particular attention to the artist’s research, in the exhibition Women in Abstraction: Another History of Abstraction in the 20th Century, curated by Christine Macel and Karolina Lewandowska (May 5 – September 6, 2021). Born in Mede Lomellina, the daughter of a butcher and orphaned at a young age, Regina was the first woman of the Italian vanguard to focus entirely on sculpture, of which she reinterpreted the language in a daring and experimental manner, drawing on academic and naturalistic research and applying it to her original use of materials. Aluminum, iron wire, sandpaper, tin, and tinplate were the favored media in a constant compositional and expressive investigation which initially embraced the sphere of Futurism (in 1934 she undersigned the Manifesto tecnico dell’aeroplastica futurista) and then that of the MAC, the ‘Movimento arte concreta’ (1948), which Regina approached in 1951 through Bruno Munari. The lightness of materials, the dynamism of form, a language made up of geometric synthesis and lyrical abstractions bring her works to life, coupled with her strong-willed and rigorous everyday practice. Two hundred and fifty works — including sculptures, mobiles, drawings, paper models, and notebooks — guide us along an itinerary that unfolds through themes and eras, intertwining her contacts with the avant-garde movements and her biographical events, from the Fascist era through to the postwar boom years. Thanks to loans from the Collezione-Archivio Gaetano e Zoe Fermani, of other private collectors, and of the Museum of Mede Lomellina, which houses a large part of her production dating right back to her early years, the journey through Regina’s universe starts out from her academic training, with her first realist portraits, of a twentieth-century flavor, and her synthetic studies on animals. The years of her adhesion to Futurism, during which Regina took part in all the Venice Biennales and the Rome Quadriennales, are characterized by works in which traces of a mechanical world à la Depero blend with the spatial penetration of Archipenko and where folded aluminum frees forms from the restrictions of volumes of traditional sculpture. In this process of the creation and assembly of oneiric works, paper becomes a key tool in every preliminary phase analysis. Models held together with pins, in keeping with a sartorial practice applied to the aerial vocation of her figures, are used by her to shape metal without uncertainty, with both energy and softness. Like in an enormous herbarium, the section dedicated to the drawings of wild flowers and her plaster models of the 1940s features a dense, fable-like and at the same time scientific sequence of studies on wild vegetation, portrayed on hundreds of loose sheets, like an everyday observational diary of the natural world, then to be modified in the sparse lines of her mature abstractism. Her MAC period sees circles, ellipses, the interplay of triangles or lozenges pieced together with grace and balance in vibrant mobile compositions, often made out of Plexiglas: the extreme synthesis of motifs taken from the wild kingdom, declined on the basis of the constructive rules of nature. The spatial suggestions to be found in 1950s Milan appear in works that reflect the mirage of the race to the moon, summed up by Regina in trajectories of strokes leading into the void, the ideal combination between the ‘force-lines’ of Futurism and the spatialism of Fontana. The exhibition also features a monograph, published by GAMeC Books and Éditions du Centre Pompidou, with essays by Christine Macel, Lorenzo Giusti, Chiara Gatti, Paolo Campiglio, and Paolo Sacchini, graphic concept by Leonardo Sonnoli and a photographic project by Delfino Sisto Legnani. The exhibition display is curated by the designer Francesco Faccin. Regina. Della scultura is supported by Santini Maglificio Sportivo.
GAMeC Bergamo

Via San Tomaso, 53
24121 Bergamo

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posted 27. May 2021

Olafur Eliasson — «Life»

01. Apr 2021
April bis Juli 2021 **Olafur Eliasson — «Life»** Mit Life arbeite ich aktiv daran, einen Raum der Koexistenz zwischen allen zu schaffen, die Teil der Ausstellung sind, und jenen, die von ihr angesprochen werden – der Kunstinstitution, meinem Kunstwerk, den Besuchenden, anderen Wesen, die daran teilhaben, den Bäumen und anderen Pflanzen im Park, der Stadtlandschaft, die das Museum umgibt und darüber hinaus. Indem wir gemeinsam die Welt erforschen, die wir miteinander teilen, können wir sie, so hoffe ich, für alle Spezies lebenswert machen. Olafur Eliasson Life erweckt den Eindruck, als hätte die Natur die Fondation Beyeler übernommen, doch gleichzeitig wird deutlich, dass die Ausstellung Erfahrungen bietet, die zutiefst gestaltet sind. Olafur Eliasson betrachtet das Kunstwerk als Natur-Kultur-Landschaft für menschliche und nicht-menschliche Lebewesen gleichermassen. Die Besuchenden sind eingeladen, sich innerhalb einer erweiterten Landschaft zu erfahren, nie allein, nie völlig getrennt, sondern als vielschichtige Wesen, die stets in grössere, unbändige Ökologien eingebunden sind. Das Kunstwerk erinnert an einen beschaulichen Garten und existiert gleichwohl in unserem globalen Jetzt, das nicht zuletzt durch den Klimanotstand bestimmt wird. Die Institution, die Besuchenden und andere Lebensformen werden in einem Raum des unmittelbaren Miteinanders vereint. Life lässt die Grenzen zwischen aussen und innen, Museum und Kunstwerk verschwimmen – ein Effekt, der soweit ging, auch Eliassons Wunsch danach, das Museum Tag und Nacht geöffnet zu halten, zu verwirklichen. Das Wasser dehnt sich über die ganzen Ausstellung aus, verbindet den Innenraum mit dem Teich im Freien und erschafft eine durchgehende Wasserlandschaft. Auf der Wasseroberfläche entfaltet sich je nach Lichtverhältnissen und Witterung ein Spektrum an Reflexionen, die den umgebenden Raum und die Besuchenden miteinbeziehen und sie zu Koproduzierenden des Kunstwerks machen. Der Teich im Garten des Museums ist mit den Innenräumen der Ausstellung zu einer durchgehenden Wasserlandschaft verbunden. Eine Vielzahl von Pflanzen, die alle im flachen Wasser gedeihen, bevölkern die Oberfläche des Teiches: Schwimmfarn, Zwergseerose, Muschelblume, Rotwurzler und Wassernuss. Einige Wasserpflanzen waren bereits fester Bestandteil des ursprünglichen Teiches. Andere werden sich im Laufe der Ausstellung in diesem Lebensraum ansiedeln. Diese Eindringlinge treten in einen Dialog mit der bestehenden Flora des Museumsparks, den dortigen, zum Teil jahrhundertealten Bäumen, den Sträuchern und Gräsern. Das Ergebnis ist ein sich gegenseitig durchdringendes, in sich verflochtenes Wachstum. Die Besuchenden bewegen sich auf Stegen aus dunklem Holz durch die Ausstellung, stets begleitet von den Umgebungsgeräuschen, etwa der Insekten, des Verkehrs und anderer Menschen, sowie umfangen von den Gerüchen der Pflanzen und des Wassers. Den Besuchenden eröffnen sich Blickachsen in die umgebende Landschaft, einem öffentlich zugänglichen Garten, während sie sich auf mehreren möglichen Routen durch die Ausstellungsräume bewegen. Überall bietet sich die Gelegenheit zu entschleunigen, sich treiben und einen der auf subtile Weise unterschiedlich gestalteten Räume auf sich wirken zu lassen. Das Kunstwerk lädt dazu ein, die Sinne zu aktiveren, es nicht nur mit den Augen zu erkunden – sondern durch die Gerüche der Pflanzen und des Wassers, die Geräusche der Umgebung und das Gefühl der Feuchtigkeit in der Luft das gesamte Sensorium zu aktivieren. Zeitempfinden wird zu einem Teil des Kunstwerks. In Eliassons Worten ist die Ausstellung der Versuch, „Zeit zu öffnen“, ihre Gegenwart nicht als standardisierte Masseinheit, sondern als gelebte, gefühlte Empfindung spürbar zu machen, die untrennbar mit Erfahrung verknüpft ist. Selbst wenn sich keine menschlichen Besuchende im Raum aufhalten, können andere Lebewesen – zum Beispiel Insekten oder Vögel – hindurchfliegen oder sich vorübergehend in ihm niederlassen. Gemeinsam und in Beziehung zu anderen nicht lebenden Dingen im Raum bilden diese unterschiedlichen Gäste ein fragiles Ökosystem, in dem menschliche wie nicht-menschliche Interventionen und Interaktionen im Laufe der Zeit Spuren hinterlassen. Life ist als lebender Organismus einem ständigen Wandel unterworfen. Ausgeatmete Luft wird von anderen Lebewesen eingeatmet, und Licht wird von Pflanzen durch Fotosynthese in Sauerstoff umgewandelt. Bei Life geht es um Konspiration – sowohl im Sinne der Wortherkunft von „miteinander atmen“ (lateinisch con-spiratio) als auch in der Bedeutung von „auf ein gemeinsames Ziel hin agieren“. Es geht darum, sich mit Anderen und mit dem Planeten zu verschwören. Die Erkenntnis, dass die komplexen Systeme der Erde miteinander verbunden sind, ist zugleich die Einladung, Erzählungen für die Zukunft zu entwickeln, in vollem Bewusstsein, dass der Mensch nicht die wichtigste Spezies auf diesem Planeten ist. In den Ausstellungsräumen und im Garten sind Kameras installiert, die Perspektiven nicht-menschlicher Lebewesen einnehmen; etwa direkt über der Wasseroberfläche oder aber hoch oben in einem Baum. * Olafur Eliasson liess sich hierfür von der Anthropologin Natasha Myers inspirieren, die an uns appelliert, unsere Sinne zu „vegetalisieren“, um das Potenzial der Beziehungen zwischen Pflanze und Mensch zu erschliessen. * Wer hat dafür gesorgt, dass Tiere wie wie wir diesen Planeten bewohnen und auf ihm atmen können? Sage es laut: jene, die Fotosynthese betreiben. Fotosynthetische Organismen bilden eine biogeochemische Kraft von einer Grössenordnung, die wir noch längt nicht vollständig erfasst haben. Vor über zwei Milliarden Jahren trieben fotosynthetische Mikroben das Ereignis voran, das heute als die Sauerstoffkatastrophe beziehungsweise die grosse Oxidation bekannt ist. Natasha Myers, Anthropologin Dies geht auf ihren Vorschlag für eine Alternative zum Anthropozän zurück, der gegenwärtigen geologischen Epoche, die durch menschliche Aktivitäten definiert ist: Myers nennt diese neue Epoche „Planthropozän“. Ihre Ideen wurzeln in dem Wissen, dass Pflanzen es überhaupt möglich gemacht haben, dass dieser Planet bewohnbar ist. Natasha Myers: „How to Grow Livable Worlds: Ten Not-so-easy steps“, in: Kerry Oliver Smith (Hrsg.): The World to Come. Art in the Age of the Anthropocene, Gainesville, Florida, 2018, S. 53–63. * Obwohl Pflanzenwissenschaftler inzwischen in das pflanzliche Sensorium auf der Suche nach Beweisen für die Empfindungsfähigkeit von Pflanzen vordringen, gilt: Wir wissen noch nicht, was eine Pflanze will oder was eine Pflanze weiss. Nach wie vor müssen wir erst bessere Wege finden, um Pflanzen genauer, und zu ihren Bedingungen, kennenzulernen. […] Um dies zu tun, sollten wir vielleicht in Betracht ziehen, unser allzu menschliches Sensorium zu vegetalisieren, und lernen, uns mit den Pflanzen zu verbünden. Vielleicht ist das ein Weg zu einem Planeten, der sich dem öffnet, was Anna Tsing als ,kollaboratives Überleben‘ bezeichnet. Gelingt dies nicht, wird ihr Untergang mit Sicherheit auch unserer. Natasha Myers, Anthropologin Natasha Myers: „From the Anthropocene to the Planthroposcene: Designing Gardens for Plant/People Involution“, in: History and Anthropology, 28, 30, 2017, S. 297–301. * Um zu überleben, benötigen wir Hilfe, und Hilfe bedeutet immer, den Dienst eines anderen, ob gewollt oder nicht, zu beanspruchen. Wenn ich mir den Knöchel verstauche, kann ein kräftiger Stock beim Gehen helfen, ich mache ihn mir gewissermaßen dienstbar. Ich bin nun eine Begegnung in Bewegung, Frau-und-Stock. Ich kann mir kaum eine Herausforderung vorstellen, mit der ich konfrontiert sein könnte, ohne dabei auf die Hilfe anderer, Menschen oder Nichtmenschen, zurückzugreifen. Dass uns – wider alles bessere Wissen – die Fantasie vorgaukelt, jeder für sich und allein überleben zu können, ist nur Ausdruck eines uns nicht bewussten Privilegs. Um zu überleben, brauchen wir Hilfe, und Hilfe steht immer im Dienst anderer, mit oder ohne Absichten. Anna Tsing, Anthropologin Anna Tsing: Der Pilz am Ende der Welt, Berlin 2018. * Lungen Ich werde sie nie sehen, diese lichtlosen Räume. Dein Atem, der aus verborgenen Becken emporsprudelt. Überwölbte Hallen. Ich stelle sie mir vor, Ballen aus Pollen, gestapelt an den Seiten, oder Leichentücher aus Staub, in Säcken verpackt und aufgehängt wie stoffumwickelte Kronleuchter, Lungenentzündung, Asthma, Krupp: Mitbewohner, die jahrelang mit dir gelebt haben, Kratzspuren an deinen Wänden. Pireeni Sundaralingam * … denn es sind nicht nur andere Menschenleben, sondern auch andere empfindungsfähige Wesen, Umgebungen und Infrastrukturen: Wir sind von ihnen abhängig und sie wiederum von uns, um eine lebenswerte Welt aufrechtzuerhalten. Judith Butler * Das Leben auf der Erde hatte schon mindestens drei Milliarden Jahre überstanden, bevor [es Menschen gab] … Wir müssen ehrlich sein. Wir müssen uns von unserer artspezifischen Arroganz befreien. Es gibt keinerlei Anhaltspunkte dafür, dass wir jene einzigartige, ‚auserwählte‘ Spezies sind, für die alle anderen gemacht wurden. Und wir sind auch nicht die wichtigste Spezies, nur weil wir so zahlreich, mächtig und gefährlich sind. Unsere hartnäckige Illusion von einer besonderen göttlichen Fügung steht im völligen Widerspruch zu unserer wahren Stellung als aufrecht gehende, kümmerliche Säugetiere. Lynn Margulis, Biologin und Evolutionstheoretikerin Lynn Margulis, Der symbiotische Planet, Frankfurt/Main 2018, zitiert nach: Olafur Eliasson: Symbiotic Seeing, Ausstellungskatalog Kunsthaus Zürich, Zürich/Köln, 2020, S. 122–123. * Vögel, wohlgemerkt, verfügen über eine andere Dimension von Farbe. Es ist nicht nur so, dass sie mehr Farben sehen, […] es ist auch nicht so, dass sie Farben besser sehen. Ihr Farbraum an sich ist für uns unvorstellbar. Dies ist ein Beispiel, wie sich der Strom der Lebewesen auf andere Weise zeichnen lassen könnte. Es schreibt ihnen eine Welt zu, die wir zwar teilen, doch zugleich lässt sich nicht sagen, dass ihre die wahre und unsere die falsche wäre oder umgekehrt. Tatsächlich haben wir es mit einem Multiversum zu tun. Das ist meiner Meinung nach eines der faszinierendsten Konzepte. Wenn Sie auf der Strasse spazieren gehen und Tauben und Hunde und Kinder sehen, wissen Sie, dass alle eine andere Sichtweise haben. Das Farb-Raum-Erlebnis der Hunde jedenfalls ist ein sehr einfaches, sie sind Dichromaten, wir sind Trichromaten, und Vögel vermutlich sogar Pentachromaten. Dennoch spazieren wir alle hier am Kanal entlang und teilen etwas, das man eine gemeinsame Basis nennen könnte, doch diese gemeinsame Basis ist nicht vordefiniert. Jeder von uns hat sich letztlich eine eigene Welt gemacht. Es handelt sich um eine Multiversalität. Francisco Varela, Biologe, Neurowissenschaftler und Philosoph Transkript des Films Art Meets Science and Spirituality in a Changing Economy (1990), erstellt von Louwrien Wijers. * Du bist nicht unbemerkt, nicht allein. Tausend Milliarden Leben erblühen in deiner Gestalt, dem Universum der DNA, die du in dir trägst, nur 10% menschlich … Pireeni Sundaralingam
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posted 26. May 2021


26. May 202126. Sep 2021
**26.05.2021 - 26.09.2021** FURLA SERIES #03 NAIRY BAGHRAMIAN 16 April - 19 July 2020 Fondazione Furla and GAM - Galleria d’Arte Moderna, Milan, are pleased to announce Furla Series #03. Nairy Baghramian, curated by Bruna Roccasalva. The third event in the Furla Series, this exhibition is the outgrowth of a partnership between Fondazione Furla and GAM - Galleria d’Arte Moderna, Milan, which will offer a unique encounter between past and present, by establishing a dialogue between contemporary art and the Museum’s countless masterpieces. Nairy Baghramian’s project, the artist’s first solo exhibition in an Italian institution, is a new ambitious production conceived specifically for the GAM spaces. Baghramian has been pushing the limits of sculptural language for two decades. In her rigorous formal and conceptual research, she explores the relationship between architecture, object and the human body, highlighting the political potential of sculptural forms and the importance of the physicality of the work. For this exhibition, the artist has created a series of large-scale sculptures, each one formally conceived to inhabit both the interior and exterior spaces of the museum, combining a reflection on play as an educational tool with her interest in the interstitial spaces that mark a boundary. The exhibition is produced with the generous contribution from Fondazione Henraux. Furla Series #03. Nairy Baghramian will be open to the public during Milano Art Week. The show is part of the Furla Series, the ongoing program launched by Fondazione Furla in 2017 featuring exhibitions dedicated to leading contemporary artists, organized in collaboration with Italy’s foremost art institutions.
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