daily recommended exhibitions

posted 05. Dec 2016

Monica Bonvicini. her hand around the room

18. Nov 2016 26. Feb 2017
Monica Bonvicini. her hand around the room A major survey exhibition of one of the most vital artists to have emerged during the mid-1990s. Monica Bonvicini (b. Italy 1965) makes work that investigates the relationships between architecture, control, gender, space, surveillance, and power. Using sculpture, installation, video, photography, text and performance, her work ranges from the intimate to the architectural in scale, questioning some of the often hidden forces that shape identity. This exhibition, presented across BALTIC’s Level 3 and Level 4 galleries, will include work from throughout the artists’ career alongside those that have been specially commissioned. The exhibition architecture itself—an environment that is always fabricated—will also receive the artists’ treatment. Works such as Light me Black 2009, made from 144 florescent lights which temporarily overpowers the viewer with its bright light, and Scale of Things (to come), a staircase of chains and steel pipes, tread a fine line between the beautiful and the sinister. A significant body of drawing will also be included.

artist

Monica Bonvicini 
BALTIC Gateshead


GB-NE8 3BA Gateshead

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posted 04. Dec 2016

Zaha Hadid: Early Paintings and Drawings

08. Dec 2016 12. Feb 2017
This winter, the Serpentine presents an exhibition of paintings and the rarely seen drawings of the pioneering and visionary architect Zaha Hadid. The exhibition will take place in the Serpentine Sackler Gallery, an extension completed in 2013 and one of Zaha Hadid Architects’ first permanent buildings in central London. Zaha Hadid is widely regarded as a pioneering and visionary architect whose contribution to the world of architecture was ground-breaking and innovative. The Serpentine presentation, first conceived with Hadid herself, will reveal her as an artist with drawing at the very heart of her work and will include the architect’s calligraphic drawings and rarely seen private notebooks with sketches that reveal her complex thoughts about architectural forms and their relationships. The show will focus on Hadid’s early works before her first building was erected in 1993 (Vitra Fire Station in Germany) and present her paintings and drawings from the 1970s to the early 1990s. The exhibition will take place at the Serpentine Sackler Gallery, renovated and extended by Zaha Hadid Architects in 2013. A select number of institutions and museums across the world will join in this timely homage to Zaha Hadid. Drawing and painting were fundamental to Hadid’s practice. Influenced by Malevich, Tatlin and Rodchenko, she used calligraphic drawings as the main method for visualising her architectural ideas. For Hadid, painting was a design tool, and abstraction an investigative structure for imagining architecture and its relationship to the world we live in. These works on paper and canvas unravel an architecture that Hadid was determined to realise in built structures and is seen in the characteristic lightness and weightlessness of her buildings. Conceived as Hadid’s manifesto of a utopian world, the show reveals her all-encompassing visions of arranging space and interpreting realities. Many of Hadid’s paintings pre-empt the potential of digital and virtual reality. Technology and innovation has always been central to the work of Zaha Hadid Architects: As Patrik Schumacher, Director, Zaha Hadid Architects said “It was Zaha Hadid who went first and furthest in exploring this way of innovating in architecture – without, as well as with, the support of advanced software”. The Serpentine has had a long relationship with Hadid, which begun in 1996 when she joined as a Trustee of the Serpentine Gallery. Her first structure in London was the inaugural Serpentine Pavilion in 2000. It was followed by a light installation, Lilas, in 2007. In 2013, she completed the extension for the Serpentine Sackler Gallery, one of Zaha Hadid Architects’s first permanent buildings in central London. She also participated in the Serpentine’s Interview Marathon in 2006 and 89Plus Marathon in 2013. The exhibition will coincide with the opening of Zaha Hadid Architects much anticipated Mathematics: The Winton Gallery at the Science Museum, which will explore how mathematicians, their tools and ideas have helped to shape the modern world. * Zaha Hadid Born in Baghdad, Iraq in 1950, Hadid studied mathematics at the American University of Beirut before moving to London in 1972 to attend the Architectural Association (AA) School where she was awarded the Diploma Prize in 1977. Hadid founded Zaha Hadid Architects in 1979 and completed her first building, the Vitra Fire Station, Germany in 1993. Zaha Hadid was awarded the Pritzker Architecture Prize in 2004 and is internationally known for her built, theoretical and academic work. The MAXXI: Italian National Museum of 21st Century Arts in Rome, the London Aquatics Centre for the 2012 Olympic Games and the Heydar Aliyev Centre in Baku are built manifestos of Hadid’s quest for complex, fluid space. The practice recently completed the Oxford University’s Middle East Centre at St Antony’s College and is currently working on a diversity of projects worldwide including the new Beijing Airport Terminal Building in Daxing, China, the Sleuk Rith Institute in Phnom Penh, Cambodia and 520 West 28th Street in New York. Zaha Hadid Architects’ portfolio also includes cultural, corporate, academic, sporting and infrastructure projects across Asia, the Middle East, Europe and the Americas, in addition to national institutions such as the Central Bank of Iraq and the Grand Theatre de Rabat.

artist

Zaha Hadid 
Serpentine Gallery, London


GB-W2 3XA London

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posted 03. Dec 2016

Zoe Leonard. I want a president

11. Oct 2016 28. Feb 2017
Zoe Leonard. I want a president On the High Line under The Standard Hotel, at Little West 12th Street Installed on the occasion of the upcoming 2016 U.S. presidential election, I want a president renders a poignant portrait of the cultural and political climate in the early ‘90s in New York City with words that still resonate today. Zoe Leonard, an artist primarily known for her photography, sculpture, and site-specific installations, is also an influential feminist and queer activist who started working in New York City in the 1980s, an era marked by overwhelming loss during the AIDS epidemic. Throughout her work from that time, Leonard references the enormous loss of close friends and fellow artists and activists whose absence still reverberates today. Leonard wrote I want a president in 1992, the year that poet Eileen Myles ran for president as an independent candidate alongside George H.W. Bush, Bill Clinton, and Ross Perot. The queer magazine for which the work was originally intended dissolved before its publication, but the text circulated organically – passed between friends, and posted on refrigerators. Over time, the text gained a life of its own. In 2006, on invitation from the feminist genderqueer journal LTTR, Leonard revived the text in the form of a postcard, and subsequently the work has been read, translated, and reimagined by various groups in the context of numerous political elections in the U.S. and abroad. While Leonard says that I want a president is not the text that she would write today, she is interested in the ways in which it asks: What is different today, and what remains the same? “I am interested in the space this text opens up for us to imagine and voice what we want in our leaders, and even beyond that, what we can envision for the future of our society,” says Leonard. “I still think that speaking up is itself a vital and powerful political act.” Co-presented with The Standard, High Line. Zoe Leonard (b. 1961, Liberty, NY) lives and works in New York City. Recent exhibitions have been presented at major institutions including MoMA, New York (2015); Chinati Foundation, Marfa, TX (2013); Museum Moderner Kunst Stiftung, Vienna (2009); Dia, Beacon (2008); and Museo Nacional Centro de Arte Reina Sofía, Madrid (2008). She has been included in group exhibitions at institutions including Art Institute of Chicago (2016); The Kitchen, New York (2016); MoMA PS1, Long Island City (2015); Tate Liverpool (2015); and the Hammer Museum, Los Angeles (2014). Her work has been presented in major international exhibitions including the Whitney Biennial, Whitney Museum of American Art, New York (1993, 1997, and 2014), Documenta IX (1992), and Documenta XII (2007). Publications include Analogue (2007), Zoe Leonard: Photographs (2008), You see I am here after all (2010), and Available Light (2014).

artist

Zoe Leonard 
High Line Art, New York

820 Washington Street
NY 10014 New York

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posted 02. Dec 2016

Tancredi. A Retrospective

12. Nov 2016 13. Mar 2017
Tancredi. A Retrospective My Weapon Against the Atom Bomb is a Blade of Grass. Curated by Luca Massimo Barbero Tancredi, with his painting, creates a new poetic philosophy for those have neither telescopes nor rockets: how lucky we are to have such crystallizations that transport us safe and sound toward other worlds. (Peggy Guggenheim) With over ninety works, this much-awaited retrospective marks the return to Venice of Tancredi Parmeggiani (Feltre 1927–Rome 1964), among the most original and prolific Italian painters of the second half of the twentieth century. Tancredi was the only artist, after Jackson Pollock, whom Peggy Guggenheim placed under contract, promoting his work, making it known to museums and collectors in the USA, and organizing shows, including one in her own home, Palazzo Venier dei Leoni, in 1954. More than sixty years later Tancredi returns to the Peggy Guggenheim Collection, his reputation now beyond question, with remarkable paintings that re-create, step by step in intimate galleries, between creative fury and lyrical expressionism, the brief but meteoric trajectory of this great postwar painter. Beginning with rare youthful portraits and self-portraits, and with Tancredi's first experiments with paintings on paper in 1950-51, the exhibition narrative moves on to document Tancredi in the early 50s, a period marked by the crucial encounter with Peggy Guggenheim, to whom he became a protégé, and who gave him studio space in Palazzo Venier dei Leoni. The bond between them is documented by a number of works still today in the Peggy Guggenheim Collection. The exhibition brings back to Venice paintings donated by Peggy to major museums in the United States, masterpieces such as Springtime (Museum of Modern Art, New York) and Space, Water, Nature, Sight (The Brooklyn Museum). The exhibition proceeds with a section dedicated to Tancredi’s works dating from the 60s. This was a period of crisis, and of a complete revision of his approach to painting, into which he now injected existential meaning. This is the vein of polemic tension that gave rise to the phrase of the title of this exhibition, 'My weapon against the atom bomb is a blade of grass'—Tancredi's response to the world conflicts of the time, from Vietnam, to the war in Algeria, to the Cold War between the USA and the Soviet Union. Belonging to this key moment in the artist’s career is the triptych of the Hiroshima series (1962). A further phase of experiment, in the final part of the exhibition, consists of the collage-paintings, made between 1962 and 1963, known as the Hometown Diaries (Diari paesani) and the Flowers 101% Painted by Me and by Others (Fiori dipinti da me e da altri al 101%), which can be counted the major revelation of this retrospective and which are the product of exceptional creative verve and dramatic euphoria. These works mark the end of his extraordinary, brilliant and unruly career, dedicated to nature and to man. They are paintings which prelude the last year of the life of a painter who was among the most original and singular personalities in Italian art of the twentieth century. Tancredi died in 1964 aged only 37, young but ready, as Dino Buzzati wrote, to evolve into the 'myth of Tancredi.' The illustrated exhibition catalogue is published Marsilio Editori, Venice, in English and Italian editions. It includes essays by Luca Massimo Barbero and Luca Nicoletti, a biography by Elena Forin, and, for the first time, an inventory of paintings donated by Peggy Guggenheim to American museums, researched by Gražina Subelytė.

artist

Tancredi 
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posted 01. Dec 2016

Mark Leckey

23. Oct 2016 05. Mar 2017
MoMA PS1 will present the first comprehensive U.S. survey of the pioneering British artist Mark Leckey and the largest exhibition of his work to date. Since coming to prominence in the late 1990s, Mark Leckey’s dynamic and varied practice has combined formal experimentation with pointed explorations of class and history. His art has addressed the radical effect of technology on popular culture, and given form to the transition from analog to digital culture, powerfully influencing younger generations of artists. The exhibition will bring together major bodies of Leckey’s work, including a broad array of video works and sculptural installations alongside new pieces made specifically for the exhibition. Among the highlights of Mark Leckey: Containers and Their Drivers will be Leckey’s breakthrough film Fiorucci Made Me Hardcore (1999), which uses sampled footage to trace dance subcultures in British nightclubs from the 1970s to 1990s; a selection of the artist’s Sound System sculptures (2001–2012), functioning stacks of audio speakers that recall those used in street parties in London; his pedagogical lecture performances; GreenScreenRefrigeratorAction (2010), a video and installation that considers “smart” objects and our increasingly technological environment; and a new iteration of the installation UniAddDumThs (2014), which Leckey created as a “copy” of a touring exhibition, The Universal Addressability of Dumb Things, that he had curated the year before. The exhibition will also feature a newly expanded presentation of Dream English Kid 1964–1999 AD (2015), an autobiography told through what the artist calls "found memories" that have been compiled from sources like archival television clips, YouTube videos, and eBay ephemera, as well as meticulous reconstructions of specific memories using props and models. Combining deeply personal and popular subjects, this amalgamation of media allows Leckey to investigate the pivotal moments in technology and culture that have occurred in his lifetime. Mark Leckey: Containers and Their Drivers is co-organized by Peter Eleey, Curator and Associate Director of Exhibitions and Programs, MoMA PS1; and Stuart Comer, Chief Curator, Department of Media and Performance Art, The Museum of Modern Art; with Jocelyn Miller, Curatorial Associate, and Oliver Shultz, Curatorial Assistant, MoMA PS1. Mark Leckey (b. 1964, United Kingdom) was awarded the Turner Prize in 2008 and has been the subject of numerous solo exhibitions at institutions including Haus der Kunst, Munich, Germany (2015); WIELS Contemporary Art Centre, Brussels, Belgium (2014); the Hammer Museum, Los Angeles (2013); Nottingham Contemporary, Nottingham, UK (2013); Banff Centre, Banff, Canada (2012); and the Serpentine Gallery, London, UK, (2011). He has participated in the Carnegie International (2013), the 55th Venice Biennale (2013), and the 8th Gwangju Biennial (2010). Leckey lives and works in London. The exhibition is made possible by The Andy Warhol Foundation for the Visual Arts and by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation. Major support is provided by The International Council of The Museum of Modern Art, The Junior Associates of The Museum of Modern Art and the Maurice Marciano Family Foundation. Additional funding is provided by the MoMA PS1 Annual Exhibition Fund.

artist

Mark Leckey 

curators

Stuart ComerPeter Eleey 
MoMA PS1, Long Island City

MoMA PS1 | 22-25 Jackson Ave. at 46 Ave., Queens
NY 11101 Long Island City

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posted 30. Nov 2016

George Condo. Confrontation

19. Nov 2016 12. Mar 2017
Ab dem 19. November 2016 zeigt das Museum Berggruen eine Werkschau des US-amerikanischen Malers George Condo (*1957 in Concord, New Hampshire, USA). In der ersten Ausstellung zeitgenössischer Kunst in der Geschichte des Hauses treten Condos Werke, die den Bogen von den 1980er Jahren bis zur Gegenwart spannen, auf der gesamten Fläche des Museum Berggruen in Beziehung zu den Künstlern der Klassischen Moderne. Ein Großteil der Gemälde, Zeichnungen, Collagen und Skulpturen Condos wird dabei erstmalig der Öffentlichkeit zugänglich gemacht. Die Konfrontationen der zeitgenössischen Werke George Condos mit Meisterwerken von Cézanne, Picasso, Matisse, Klee und Giacometti aus dem Museum Berggruen überraschen, amüsieren, irritieren und versprechen einprägsame Erkenntnisse für beide Seiten: Condos wilde, teils groteske Bildfindungen rufen die Radikalität der Kunst zu Beginn des 20. Jahrhunderts wieder ins Bewusstsein; die Maler und Bildhauer der Moderne wiederum lassen in Condos Werken die überbordende Freude des Künstlers vor Augen treten, mit kunsthistorischen Referenzen zu spielen. „Es geht nicht einfach nur um eine Konfrontation mit anderen Künstlern, es geht um die Idee, dass ich meine Arbeiten in Konfrontation mit mir selber mache, und ich konfrontiere meine Dämonen, meine Depressionen, mein Glück, meine Existenz. Ich konfrontiere dies als Künstler, und ich will das meiste aus dem machen, der ich bin. Ich kann dies nur durch Konfrontation erreichen.“ George Condo, 2016 In der Ausstellung George Condo. Confrontation im Museum Berggruen ist die Malerei des 20. und 21. Jahrhunderts als unablässig in Bewegung bleibender Motor von Bezügen, Traditionen und sich in die Popkultur fortschreibenden Energien erlebbar. Zur Ausstellung erscheint eine Publikation mit wissenschaftlichen Texten, einem Interview mit dem Künstler und zahlreichen Abbildungen sowie eine Erzählung des Schriftstellers Daniel Kehlmann, inspiriert durch das Werk von George Condo. Die Ausstellung wird ermöglicht durch den Verein der Freunde der Nationalgalerie.

artist

George Condo 
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posted 29. Nov 2016

Nairy Baghramian

19. Nov 2016 26. Feb 2017
The German sculptress Nairy Baghramian (1971, Isfahan, Iran) wants to make us aware of strategies that determine the production, presentation and perception of art and of the role of the viewer in the creation of value in art. To do this she dismantles existing forms and concepts from the field of sculpture and recombines them with principles drawn from design or fashion. She balances between functionality and presentation, decoration and utility, memory and physicality. She experiments with materials, hanging heights, sightlines and other presentation parameters. In this way, spatial hierarchies are made visible and the artist challenges the relationships between viewer and artwork.

artist

Nairy Baghramian 
SMAK Gent

SMAK | Jan Hoetplein 1
B-9000 Ghent

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posted 28. Nov 2016

Céleste Boursier-Mougenot

25. Nov 2016 05. Mar 2017
Céleste Boursier-Mougenot This winter, French contemporary artist and composer Céleste Boursier-Mougenot will present his monumental installation from here to ear in one of the industrial exhibition halls at Copenhagen Contemporary (CC). Boursier-Mougenot has won worldwide recognition with his vast, acoustic installations that take their starting point in nature and the rhythms of everyday life – two aspects that are also evident in the work now about to be shown at CC. A 600-m2 hall will be transformed into a giant walk-through aviary where 88 living zebra finches will live. The aviary is equipped with sand, plants and nesting places – and, very importantly, with eighteen bass guitars and electric guitars arranged horizontally on stands. Audiences are invited to walk around inside this living installation, watching as the birds flit around and perch on the stings of the instruments as if they were cables suspended between city roofs or branches in a forest. The song of the finches and the random sounds created as they perch on the electric instruments fill the space. The exhibition hall is transformed into a concert hall as the bird’s activities give rise to experimental ambient music that intensifies and changes in accordance with the dynamics between exhibition visitors and the finches. Like a permanent warm-up to a rock concert, without beginning or end, suspending time. from here to ear offers an immersive experience where all senses are activated and challenged. As one of Boursier-Mougenot’s major masterpieces, the work has been shown in various versions in art institutions across the world – always adapted to each specific site.
Copenhagen Contemporary CC

COPENHAGEN CONTEMPORARY | Trangravsvej 10-14
1436 Copenhagen

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posted 27. Nov 2016

Sightings: Michael Dean

22. Oct 2016 05. Feb 2017
Born in Newcastle Upon Tyne in 1977, Michael Dean lives and works in London. His work explores themes of language, the act of writing and the struggle to communicate in a variety of forms, including sculpture, photography, poetry, plays, publications and performance. His process has been described as a series of translations: writing, creating diagrammatic typographies of the text, then embodying those texts in solid, physical form. Often made of concrete cast in flexible plastic bags and supported with steel reinforcement, his sculptures sometimes vaguely resemble letters of the alphabet and are installed occasionally on top of Dean’s self-published books filled with opaque, almost nonsensical phrases printed in pictogram lettering designed by the artist. These abstract, industrial objects project an extraordinary humanity: often slightly hunched, slumped, or leaning on one another, their concrete “skin” resembling wrinkled flesh, the sculptures take on human qualities that elicit sympathy. It is not unusual for viewers to empathize with these beings and connect with their plight. Dean’s installations are often holistic experiences, rather than straightforward presentations of independent objects: recent exhibitions have included detritus from the making of the sculptures, torn and dyed books, as well as dried grasses, pennies, stickers, and specimen bags strewn across the gallery. For his exhibition at the Nasher Sculpture Center, Dean has created new works stemming from learning that, as the artist points out, “evolutionarily, cacti can be described as having lost true leaves.” The books, pages, and sculptures in the exhibition ruminate on the phrase “lost true leaves,” and elaborate on what Dean describes as “emotions that diagrammatically analogue loving and hating, leaving and having left.” Here, he has altered the Lower Level Gallery, covering the oak floorboards with white vinyl, giving the space the starkness of an empty page, a method he initially employed earlier this year at an exhibition at South London Gallery. That exhibition, and another at De Appel Arts Centre, Amsterdam, earned Dean recognition as a nominee for the celebrated Turner Prize, an annual award given by the Tate to a British artist under the age of fifty. Sightings: Michael Dean is the artist’s first solo museum exhibition in the United States. Lost True Leaves offers a compendium of Dean’s practice, drawing from and expanding upon his previous investigations of language, its visual cognates, and its complexities. The result is a densely layered field of objects linking poetic, philosophical considerations of the written word with guttural utterances and the panoply of visual analogues—from printed icons from the worlds of advertising and popular culture to physical gestures to abstract sculpture—that comprise our daily struggle to make ourselves understood.

artist

Michael Dean 
Nasher Sculpture Center, Dallas

2001 Flora St.
TX - 75201 Dallas

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posted 26. Nov 2016

Joan Fontcuberta. Trauma

26. Nov 2016 03. Feb 2017
opening: 26. Nov 2016
We must ask ourselves what happens when a photograph abandons its image and frees itself from its soul. What’s left when a photograph doesn’t point towards a reality outside itself and only points to its substrate? When its residue remains in the shape of some light-sensitive chemicals? What happens when the only reference left to a photograph is photography itself? When the soul of an image - the information- leaves the body- the support- it becomes a ghost. But there are different kinds of ghosts and various kinds of ghost-images. Usually, the ghost-images that inhabit the bastions of memory are the archives.

artist

Joan Fontcuberta 
Angels Barcelona

c/ pintor fortuny, 27
08001 Barcelona

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posted 25. Nov 2016

Ger van Elk

29. Oct 2016 10. Dec 2016
Opening: October 28th, 7pm Markus Lüttgen is pleased to invite you to his third solo show with works by Dutch artist Ger van Elk: “I make my own poems. Even though I don't write them down, I do give shape to them.” Ger van Elk

artist

Ger van Elk 
Markus Lüttgen, Köln

Elisenstrasse 4-6
50667 Cologne

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posted 24. Nov 2016

Ulay life-sized

13. Oct 2016 08. Jan 2017
Ulay life-sized Er bezeich­net sich selbst­iro­nisch als den „bekann­tes­ten unbe­kann­ten Künst­ler“: Uwe Laysi­e­pen alias Ulay (*1943). Radi­kal führt Ulay das eigene Leben und die Kunst zusam­men. Mit seinem künst­le­ri­schen Konzept der Trans­for­ma­tion schafft er stän­dig neue Iden­ti­tä­ten: Sein bevor­zug­tes Medium ist die Foto­gra­fie; anfäng­lich mit der Firma Pola­roid verbun­den, wurde sie zu einem wesent­li­chen Bestand­teil seiner künst­le­ri­schen Praxis, deren früheste Ergeb­nisse in das Jahr 1970 zurück­rei­chen. Das Sofort­bild, das vom Digi­tal­foto abge­löst wurde, ist für Ulay das Mate­rial seiner jahr­zehn­te­lan­gen Suche nach der Reprä­sen­ta­tion des Lebens. Sein Körper dient ihm dabei bis heute als Forschungs­ge­gen­stand, auf dem sich wie auf einer Lein­wand verschie­dene Einflüsse abzeich­nen und able­sen lassen. Die SCHIRN widmet diesem Ausnah­me­künst­ler die erste große Über­blicks­aus­stel­lung über­haupt. Neben zahl­rei­chen Einzel­ak­tio­nen der Perfor­ma­ti­ven Foto­gra­fie und Body-Art hat Ulay viele Projekte auch mit ande­ren Künst­lern reali­siert oder hat sich von ihnen beein­flus­sen lassen: Durch die Freund­schaft mit Jürgen Klauke hat Ulay das Problem der Iden­ti­tät künst­le­risch für sich entdeckt und die perfor­ma­tive Foto­gra­fie begrün­det; mit seiner frühe­ren Muse Paula Françoise-Piso entstan­den foto­gra­fi­sche Serien, in denen er die Befra­gung des Selbst bis zu dessen Auflö­sung stei­gerte; mit seiner ehema­li­gen Part­ne­rin Marina Abra­mović gelang ihm schließ­lich eine Erwei­te­rung der Perfor­mance-Kunst, die für dieses Genre bis heute zu den größ­ten Einflüs­sen über­haupt zählt. Die Ausstel­lung in der SCHIRN führt das bemer­kens­werte Œuvre von Ulay umfas­send zusam­men. Zu sehen sind sowohl neue Arbei­ten und Perfor­man­ces, die der Künst­ler eigens für die Ausstel­lung konzi­piert, als auch zahl­rei­che Kunst­werke, die er jahre­lang zurück­hielt und die nun zum ersten Mal öffent­lich gezeigt werden.

artist

Ulay 
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posted 22. Nov 2016

32nd Bienal de São Paulo 2016 "Live uncertainty"

10. Sep 2016 11. Dec 2016
Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below: Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em'kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. "Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them," says curator Jochen Volz. "In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth's natural resources and global migration, perhaps it's necessary to detach uncertainty from fear." As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists' studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place: Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original. To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication. Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit's architectural project and exhibition displays. Curator: Jochen Volz Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga
Bienal de São Paulo

Parque Ibirapuera, Gate 3, Ciccillo Matarazzo Pavilion
04094-000 Sao Paulo

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posted 21. Nov 2016

Victoria Lucas: Lay of the Land (and other such myths)

27. Jan 2017 02. Apr 2017
Co-commissioned and curated by Mark Devereux Projects. Lay of the Land (and other such myths) is a new project and exhibition investigating connections between gender and geographical place. This series of photographic works is the outcome of Victoria Lucas’ research excursion across the Californian Desert in 2015. Digitally rendered images re-present a cluster of giant boulders as an imaginary site for potential subversive happenings.

artist

Victoria Lucas 

curator

Mark Devereux 
HOME Manchester

2 Tony Wilson Place First Street
M15 4FN Manchester

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posted 20. Nov 2016

Bruce Conner: It’s All True

29. Oct 2016 22. Jan 2017
The San Francisco Museum of Modern Art (SFMOMA) announces its presentation of Bruce Conner: It’s All True, the first comprehensive retrospective of the seminal American artist and influential Bay Area figure, on view from October 29, 2016 through January 22, 2017. Organized by SFMOMA, the exhibition brings together more than 250 objects in mediums including film and video, painting, assemblage, drawing, prints, photography, photograms and performance, representing Conner’s intensely productive and polymathic career. “The often radical shifts in direction of Conner’s artistic practice, the parallel interest in experimental films and material objects, the playful and often irreverent approach to conventions of institutions and collectors—all of this is a sign of a great artist who made a point of not being categorized as a sculptor or a filmmaker and actively embraced change throughout his life,” said Rudolf Frieling, curator of media arts at SFMOMA. “It then seemed appropriate to make the integration of all these components of his practice the guiding principle for our retrospective." “Conner, from the beginning of his career in the late 1950s until the time of his death in 2008, was one of the leading artistic figures in the Bay Area, admired by other artists for his artistic integrity and invention,” said Gary Garrels, Elise S. Haas Senior Curator of Painting and Sculpture at SFMOMA. “His influence has grown enormously in recent decades, impacting younger artists nationally and internationally including major figures such as Dara Birnbaum and Christian Marclay and emerging artists such as Kevin Beasley and Carol Bove.” Conner moved to San Francisco from the Midwest in 1957 and, after brief stays in Mexico and other cities throughout the U.S. in the early 1960s, called this city home for the rest of his life. During the course of his extensive career, Conner engaged in close dialogue with SFMOMA curators, conservators and educators, has been featured in numerous group and solo exhibitions and his work remains an important part of the museum’s permanent collection. An early practitioner of found-object assemblage and a pioneer of found-footage film, he achieved international standing early in his career and was a key member of the underground film community and the flourishing San Francisco art world—from the Beat generation, the 1960s liberation era and the punk generation of the 1970s and 1980s, though defined by none. Exemplifying the fluidity that is now a hallmark of contemporary art, Conner worked sequentially or often simultaneously in a wide range of mediums. Bruce Conner: It’s All True presents a lifetime of work by Conner, whose transformative practice defies straightforward categorization. In a midcentury cultural landscape marked by extremes of devastation and abundance, Conner emerged as a figure adept at repurposing and recombining the detritus of a consumer-driven and media-dominated culture. The exhibition is loosely organized, both chronologically and thematically, emphasizing Conner’s polymorphic abilities by integrating works across mediums and creating atmospheric shifts and densely-installed presentations. The initial presentation of Bruce Conner: It’s All True is at The Museum of Modern Art in New York (through October 2, 2016). After SFMOMA, the exhibition will travel to the Museo Nacional Centro de Arte Reina Sofía in Madrid (February 21–May 22, 2017). EARLY WORK The exhibition begins with a group of early paintings, TICK-TOCK JELLYCLOCK COSMOTRON, a rarely seen assemblage with sound, and A MOVIE, Conner’s first film and a major cornerstone of American experimental cinema. This film exemplifies what would become a signature strategy for Conner—creating new forms by reordering shards and fragments of the 20th century. Defining a dynamic mode of filmmaking through the montage of found footage set to music through precise, rapid-fire editing, A MOVIE has had an enduring influence on generations of artists who have produced new films and videos by appropriating, manipulating and remixing the remnants of mass-media culture. A second major section is dedicated to Conner’s assemblages from the 1950s and early 1960s. Among many highlights is the artist’s first assemblage, RATBASTARD, completed in 1958, the same year that he created the jokingly titled Rat Bastard Protective Association, a social group of like-minded artist and poet friends with a shared interest in the debris of everyday life. Over the next six years, Conner developed a range of assemblage formats including reliefs, along with hanging and freestanding sculptures. Using discarded objects and building materials found in San Francisco thrift shops and neighborhoods undergoing urban renewal, Conner’s assemblages incorporated elements like clothing, toys, costume jewelry, feathers, photos, newspaper clippings, cigarette butts, nails, tacks and razor blades. With few exceptions these works were wrapped or stuffed with torn nylon stockings, giving his assemblages an untimely, foreboding aura. SOCIAL JUSTICE Themes of violent death—by execution, murder or nuclear annihilation—are common in Conner’s early work and reflect the artist’s engagement with contemporary issues of social justice, such as the nuclear arms race, the war in Vietnam and capital punishment. These concerns are particularly evident in his black wax sculptures, such as the recently restored CHILD, first presented in San Francisco in 1960 and last seen briefly in New York in 1995—a famously disturbing wax work created in response to the high-profile capital punishment of Caryl Chessman. The darkly beautiful, BLACK DAHLIA, an assemblage portrait of an infamous sex murder victim, similarly expresses Conner’s acute and intense engagement with issues of social alienation. INFLUENCE OF MEXICO Deeply concerned about the Cold War, in 1961 Conner and his wife Jean moved to Mexico City. There he produced a body of assemblages and drawings distinctly different from his earlier work. The assemblages became lighter, with richer color, and incorporated a deeper spiritual association. The ink-on-paper drawings Conner produced reflect the artist’s experimentation with psilocybin mushrooms, as well as his friendship with Harvard psychologist Timothy Leary. The mushroom form appears frequently in these works, and in some it is equated with the mushroom-shaped cloud of a nuclear explosion. Work such as the film LOOKING FOR MUSHROOMS consists of footage shot directly by Conner while living in Mexico, and some earlier shots from San Francisco. Building on the rapid rhythms of his earlier film work and introducing multiple-exposure sequences, it is a psychedelic, meditative travelogue, consisting mostly of rural Mexico, featuring sumptuously colored images of the natural world, local villages and religious iconography. In 1967 Conner added a soundtrack, the song, “Tomorrow Never Knows” by the Beatles, publicly presented in this exhibition for the first time. In 1996 he edited a longer version which he set to music by experimental composer Terry Riley. WORKS ON PAPER, PHOTOGRAMS AND PHOTOGRAPHY Conner’s work shifted again in the 1970s, with the creation of numerous drawings. Those with a circular composition he called “Mandalas.” He also developed offset lithographs based on his ink and felt-tip pen drawings, using the same motifs for magazine and book covers, posters, endpapers, cards and other multiples. In 1974, Conner began a series of densely monochromatic pen and ink drawings. In some works black ink covers the entire sheet; in others, the black surface is dappled by tiny points of white—reminiscent of stars dappling a night sky. Just as Conner’s Mandala drawings were created using a tightly organized system of lines clustered around central geometric forms, these STAR and INK drawings are made by filling in around increasingly smaller areas that remain un-inked. Dated by the month and year of their creation, they reflect the detail-oriented aspect of Conner’s personality. The series of 29 large scale photograms, a selection of which are on view, that Conner called ANGELS, were created in collaboration with the San Francisco photographer Edmund Shea (1942–2004) and illustrate Conner’s fascination with darkness and illumination. Conner himself posed for these ghostly prints, though his body and features have been dematerialized into luminous forms that convey the mystical and spiritual overtones that would continue to permeate his work. Exploring yet another medium, Conner began employing photography in 1977, after seeing a performance by the band Devo at the Mabuhay Gardens in San Francisco. Conner became a regular at this important Bay Area punk venue, and after being invited to contribute to V. Vale’s celebrated punk zine Search & Destroy (1977–79), he embarked on a yearlong photographic project to document bands and audience members at the club. In the 1990s, Conner revisited his Mabuhay photographs, producing from them a series of collages that are both nostalgic for, and critical of, the wildness and violence of the punk generation. In the later part of his career, Conner also made many small intricate collages from engravings, influenced by Surrealism, that express complex psychological and spiritual themes. Entire galleries are devoted to each of these extensive bodies of work. Conner additionally began experimenting with a technique incorporating inkblots in 1975, continuing it until the end of his life; during his final years, it became his primary technique for working on paper. In 1999, Conner announced his retirement from the art world, though the same year, Conner-like inkblot drawings began appearing under the names Emily Feather, Anonymous and Anonymouse. Claiming that he had trained and paid artists to create and exhibit artwork, Conner praised these anonymous artists' decision to create art under pseudonyms, as it resonated with his career-long interest in playing with issues of artistic authorship and identity. FILM Additional filmic works featured in the exhibition are REPORT, CROSSROADS and THREE SCREEN RAY. Containing footage from recorded live broadcasts and the famous Zapruder film of John F. Kennedy’s assassination, REPORT is one of Conner’s most intense filmic constructions expressing shock and physical aggression, and offers a scathing critique of consumerist spectacles. CROSSROADS epitomizes Conner’s horrified fascination with the nuclear bomb, as well as with the capacity of art and cinema to create a powerful record of death and destruction on an unimaginable scale. To make the film, Conner sourced footage of Operation Crossroads, a nuclear bomb test the American government carried out in 1946 at Bikini Atoll in the South Pacific. THREE SCREEN RAY (2006) is Conner’s foray into digital editing and projection, structured around Ray Charles’s hit “What'd I Say” (1959). It followed the film COSMIC RAY (1961) and the multiple-projector film installation EVE-RAY-FOREVER (1965/2006). In THREE SCREEN RAY, three video channels create dynamic juxtapositions between elements including a countdown leader, footage of tribal dancing, military imagery, television commercials and Mickey Mouse, allowing Conner’s trademark themes of vice and violence to reach fever pitch. At the end of the exhibition is the film EASTER MORNING (2008), a hypnotic meditation on rebirth and renewal, propelled by Terry Riley’s iconic Minimalist composition “In C” (1964). This piece manifests the spirituality that appeared throughout Conner’s career, from his earliest Christian-themed paintings to his trance-inducing works on paper. An elegiac, mournful work, this was the last film he completed before his death at the age of 75. ORGANIZATION Bruce Conner: It’s All True is organized by SFMOMA and co-curated by Rudolf Frieling, curator of media arts, SFMOMA; Gary Garrels, Elise S. Haas Senior Curator of Painting and Sculpture, SFMOMA; Stuart Comer, chief curator, media and performance art, MoMA; and Laura Hoptman, curator, department of painting and sculpture, MoMA; with Rachel Federman, former assistant curator, painting and sculpture, SFMOMA. Additional curatorial assistance has been provided by Nancy Lim, assistant curator of painting and sculpture, SFMOMA. Special thanks to Jean Conner, Robert Conway, Michelle Silva and the Conner Family Trust for their cooperation and support with the exhibition. PUBLICATION Bruce Conner: It’s All True is accompanied by a catalogue published by SFMOMA in association with University of California Press, and edited by Frieling and Garrels. Illustrated in full color throughout, this comprehensive volume provides access to a range of material, emphasizing aspects of his work that have never been published, including early paintings from the 1950s and works from the last decade of Conner’s life, along with a trove of ephemeral materials. The publication features original scholarship by a field of authors writing from a variety of art historical perspectives, including essays by Frieling, Garrels, Comer, Hoptman, Diedrich Diederichsen and Rachel Federman, as well as contributions from Michelle Barger, Kevin Beasley, Dara Birnbaum, Carol Bove, Stan Brakhage, David Byrne, Johanna Gosse, Roger Griffith, Kellie Jones, Christian Marclay, Greil Marcus, Michael McClure, Megan Randall, Henry S. Rosenthal, Dean Smith, Kristine Stiles and the art collective Will Brown. EXHIBITION SPONSORSHIP Major sponsorship of Bruce Conner: It’s All True is provided by the Henry Luce Foundation. This project is supported in part by an award from the National Endowment for the Arts.

artist

Bruce Conner 
SFMOMA San Francisco Museum of Modern Art

SFMOMA | 151 Third Street
CA-94103-3159 San Francisco

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posted 19. Nov 2016

Walter De Maria - Counterpoint

19. Oct 2016 22. Jan 2017
A towering figure in the history of minimal, conceptual, installation, and Land art, Walter De Maria has had a profound impact on contemporary art making. On display for the first time since its unveiling 30 years ago, Large Rod Series: Circle/Rectangle, 5, 7, 9, 11, 13, 1986, will be presented as part of a unique installation alongside El Greco’s (Doménikos Theotokópoulos) Saint Francis Kneeling in Meditation, 1605–10. Five years in production, De Maria’s Large Rod Series sculptures were drawn through custom-made dies, hand welded, machine ground, hand ground, and, finally, hand polished. Circle/Rectangle, 5, 7, 9, 11, 13 is one of only ten works made by the artist between 1984 and 1989. While the strength and capacity of the material is unyielding, De Maria expanded the qualities of the works by allowing three formal installation configuration possibilities: Circle, Short Rectangle, or Long Rectangle. The series debuted in 1986 at the renowned Xavier Fourcade Gallery, New York, with a selection from the series installed at De Maria’s studio for by-appointment viewing only. Generously on loan from the Meadows Museum, El Greco’s Saint Francis Kneeling in Meditation is an iconic example of how the painter geometrized his compositions. Through expert modeling he achieved a perfect equilibrium between naturalism and agitated expressionism. Beyond the refined formal qualities of El Greco and De Maria, there is a connection to be made between the artists’ shared interest in systematic production. Completing the installation is a programmed recording of Cricket Music, 1964, one of De Maria’s rare musical compositions. Experienced together, the sculpture, painting, and audio component form a new and distinctive meditation on themes of minimalism, geometry, progression, and sensory perception. Their installation in an encyclopedic museum draws parallels between artistic forms and iconographies of past and present. Cricket Music can be heard each day in the exhibition at noon, 2pm, and 4pm. Duration 24 minutes, 34 seconds.
Dallas Museum of Art

1717 North Harwood
75201 Dallas

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