daily recommended exhibitions

posted 24. Sep 2023

LAWRENCE WEINER: UNDER THE SUN

31. Aug 202328. Jan 2024
31.08.2023 - 28.01.2024 LAWRENCE WEINER: UNDER THE SUN Organized by Amorepacific Museum of Art (APMA) The Amorepacific Museum of Art presents LAWRENCE WEINER: UNDER THE SUN, a solo museum survey of the remarkable American artist Lawrence Weiner. Weiner was born in New York City in 1942, where he lived and worked throughout his life until his passing in 2021. He is considered a founding figure of the Conceptual art movement, which emerged in the 1960s amid the postwar art movements in Europe and the United States. Weiner considered his work sculpture with variable dimensions. He tacitly outlined the material potentialities of language—his primary material—describing his work as, ‘language + the materials referred to’. The breadth of his artistic practice is evidenced by his numerous artist’s books, edition works, music, films and videos. This exhibition is both Weiner’s inaugural solo presentation in South Korea as well as the artist’s first comprehensive show within an institutional context since his death. The exhibition introduces a wide array of Weiner’s works. Besides installations on the walls and floors of the museum, it includes editions, drawings, posters, cartoons and videos that collectively illustrate his extensive artistic practice. The language of Lawrence Weiner is not confined to any specific context nor to a prescribed meaning or presentation. It remains open to personal and collective interpretations that operate within and sensitively respond to the specificities of the culture in which his works are located at any given time. Under the themes of “Subject-Object’, ‘Process’ and ‘Simultaneous Realities’, this exhibition attempts to create a space for new visual dialogues that transcend historical time and cultural space by bringing together Weiner’s art with select pieces from our Korean art collection. Weiner’s language functions both as the point of entry and departure to engage with these works. Befittingly with this context, 7 works have been translated into Korean and have been collectively installed with their English original language. Amorepacific Museum of Art sincerely hopes that his words, when presented in this context, provide an occasion where our attitudes towards history, culture and the world can be challenged and expanded.
Amore Pacific Museum of Art, Seoul

100 Hangang-daero, Yongsan-gu, Amorepacific Corporation headquarters building
04386 Seoul

Korea (Republic of)show map
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posted 23. Sep 2023

Katja Davar. Bobbin Tales From Landscape Blues

09. Sep 202328. Oct 2023
09.09.2023 - 28.10.2023 Ausstellungseröffnung 08/09/2023, 17-21 Uhr Katja Davar Bobbin Tales From Landscape Blues Alte Muster lassen sich nur schwer durchbrechen, heißt es. Doch was passiert, wenn Brüche gar nicht das Ziel sind, sondern eine Hinterfragung dessen, woraus Muster gemacht sind, wozu sie gut sind und das Studium ihrer Beschaffenheit als Schritt in die Zukunft? In Bobbin Tales From Landscape Blues, der ersten Einzelausstellung von Katja Davar bei Bernhard Knaus Fine Art, zeigt die Künstlerin neue großformatige Zeichnungen und Wandgemälde. Katja Davar schafft im Spiel mit immersiven Räumen Welten, die gesellschaftliche Prozesse, naturwissenschaftliche Erkenntnisse und kunsthistorische Referenzen miteinander vereinen. Die Arbeiten der britisch-deutschen Künstlerin wirken wie eine gespiegelte Form unserer Realität, sie greifen Bekanntes auf und lösen sich wiederum in unerwarteten Momenten davon. Die Referenzpunkte dieser Ausstellung lassen sich vorrangig im 16. und im 17. Jahrhundert finden. Katja Davar beschäftigt sich in ihren neuesten zeichnerischen Arbeiten mit der Formensprache sowie mit den Farben der flämischen Landschafts-malerei während dieser Zeit. Eine weitere Verbindung zur Renaissance bilden die Wände der Ausstellungsräume durchziehende Grafitmuster in Anknüpfung an eines der ältesten europäischen Spitzenmusterbücher, Le Pompe, das erstmals 1559 in Venedig erschien. Katja Davar (*1968 in London) widmet sich in Videos, Zeichnungen und Animationen dem Verhältnis zwischen Menschen, Natur und neuen Technologien. Ihre facettenreiche Motivik handelt von utopischen wie dystopischen Aspekten antiker und moderner Lebenswelten. Katja Davars Arbeiten waren seit ihrem Studium in London, Düsseldorf und Köln in zahlreichen Einzel- und Gruppenausstellungen zu sehen und sind Teil internationaler Kunstsammlungen, unter anderen der Sammlung zeitgenössischer Kunst der Bundesrepublik Deutschland und der Sammlung der Europäischen Zentralbank in Frankfurt am Main. Die Künstlerin lehrt seit 2012 als Professorin für Experimentelle Zeichnung an der Hochschule Mainz.

artist

Katja Davar 
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posted 22. Sep 2023

Tuấn Andrew Nguyễn. The Boat People

02. Sep 202329. Oct 2023
September 2 – October 29, 2023 Opening: September 2, 11am–3pm Pulvertum, Oldenburg, Schloßwall Tuấn Andrew Nguyễn The Boat People The Edith-Russ-Haus is pleased to present the video installation titled The Boat People by Tuấn Andrew Nguyễn in the Pulverturm (Powder Tower), which belongs to the former castle wall of Oldenburg and is the only remaining building of the fortifications of the city. Its history goes back to 1529, when Count Anton I (1505–1573) renewed the city’s military facilities. Since 1996, the Pulverturm has been used for cultural purposes during the summer months. Set in an unspecified future at the precarious edge of humanity’s possible extinction, The Boat People follows a group of children led by a strong-willed and resourceful little girl, who travel the seas and collect the stories of a world they never knew through objects that survived through time. Calling themselves The Boat People, the group finds objects amongst the ruins of human civilization, spread through the seas. They replicate objects that resonate with them in wood as a way to try and piece together a history they are trying to understand. They then burn the carvings for reasons that have long been forgotten. The Boat People arrive in a place formerly known as Bataan and come into contact with the rich layers of intermingled histories and eras embedded in the coast. They encounter objects from a refugee crisis, a world war, and some of the earliest migrations in human history. The little girl encounters a mysterious statue head buried in the sand. They engage in a dialogue that not only explores concepts of a future and a past world through an existential lens, but also gives us a look into the reasons behind this group’s mysterious ritual of burning their beautifully hand-carved replicas. The Boat People was produced in collaboration with Bellas Artes Projects in Bataan, Philippines. The production team was composed of cinematographer Andrew Yuyi Truong, research assistant Jane Pujols, 1st Camera Assistant Rhon Bacal, and the Bellas Artes Team. Nguyễn cast five children from the local fishing village in Bagac, Bataan as the main characters of the film. Making their film debut are Gryshyll Reyes Ilarina as Riana, Michael Mendoza Soronio, John Carlos Cruz Moris, Jescee Dheivid Taba Recinte, and Benedict Recinte Revelo. The film was shot in the different areas of Las Casas Filipinas de Acuzar, Mt. Samat, the Nuclear Powerplant Village, and the Phillippine Refugee Processing Center. Tuấn Andrew Nguyễn’s practice explores the power of memory and its potential to act as a form of political resistance. His practice is fuelled by research and a commitment to communities that have faced traumas caused by colonialism, war, and displacement. Through his continuous attempts to engage with vanishing or vanquished historical memory, Nguyễn investigates the erasures that the colonial project has brought to bear on certain parts of the world. Through collaborative endeavors with various communities throughout the world, Nguyễn sets out to cultivate and empower these strategies enacted and embodied by his collaborators. Through this collaborative practice, he explores memory as a form of resistance and empowerment, emphasizing the power of storytelling as a means for healing, empathy and solidarity. Nguyễn, based primarily in Saigon, works between various mediums but devotes much of his attention towards producing moving-image works and sculpture. Nguyễn’s intrigued with the relationship between narrative and objects leads him to make projects that combine moving image and sculpture - oftentimes many of his films begin with an object, such as destroyed memorials built by former refugees, or the skeletal remains of the last rhino in Vietnam for instance, and its story. Approaching memory as a phenomenon that is intangible and abstract, Nguyễn often thinks beyond the restrictions of time (past, present, future) which also gives way to thinking about supernaturalisms (ghosts, specters, hauntings) as political tools.
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posted 21. Sep 2023

THIERRY DE CORDIER II ​Passe-montagne

08. Sep 202314. Oct 2023
​8 September — 14 October 2023 THIERRY DE CORDIER II ​Passe-montagne Xavier Hufkens is honoured to present a new exhibition of works by Thierry De Cordier spanning the period from 1983 to today — none of which have previously been exhibited. The exhibition, nonetheless, is not intended to be a retrospective. De Cordier might best be described as a non-academic thinker who makes things. His oeuvre includes, but is not limited to, photographs, drawings, placards, paintings, sculptures, assemblages and bricolage. These ‘objects’ and ‘non-objects’, as he calls them, can be viewed as representations of his thinking. They visualize his ideas and, as such, are illustrative of them. Simply put, his oeuvre is a philosophy expressed in images. De Cordier’s worldview leans heavily towards Albert Camus’ concept of Absurdism, which describes the futility of searching for significance in an incomprehensible universe, devoid of either God or meaning. In other words, people merely exist. Or, as De Cordier says: ‘Inutile, l’homme est là à être là inutilement...’ [Useless, man is there just being there uselessly...]. Thierry De Cordier (b. 1954, Ronse, Belgium) currently lives and works in Ostend, Belgium. A large room dedicated to his work was included in the exhibition The Encyclopaedic Palace at the Venice Biennale (2013). Solo exhibitions include Iconotextures at Royal Museums of Fine Arts of Belgium, Brussels (2016); Landschappen at BOZAR, Brussels (2012); and Drawings at the Centre Pompidou, Paris (2004-2005). He represented Belgium at the Venice Biennale in 1997.
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posted 20. Sep 2023

Melike Kara. Emine's Garden

08. Jul 202324. Sep 2023
Melike Kara. Emine's Garden July 8 – September 24, 2023 Melike Kara (*1985, lives and works in Cologne) develops her painterly work alongside the writing of poetry and the production of sculptures, videos and other media. The experimental use of surfaces is a characteristic of her paintings, which are treated with thick oil pastels, for example, or the use of foreign materials such as textiles. In her first institutional solo exhibition in Switzerland, Kara continues her exploration of Kurdish traditions and questions of historicisation, tradition and community. She will realise site-specific works in a large-scale installation that will transform the spaces of the Kunst Halle Sankt Gallen into her own visual archive. Distinctive for the painting of Melike Kara is the experimental approach to surfaces, which are treated, for example, with thick oil pastels or the use of foreign materials such as textiles. The work of the artist draws from the writing of poems as well as sculptures, videos and other media, always in search of a multilayeredness on a formal as well as conceptual level. In «Emine’s Garden» – a reference to her grandmothers garden– Kara continues her exploration of Kurdish traditions and questions of historicization and community. Here, photographic images, canvases, and ornamental plaster reliefs are combined to create an expansive installation that transforms the rooms of the Kunst Halle into a proliferating visual archive. Melike Kara, Emine's Garden, 2023, Kunst Halle Sankt Gallen, St. Gallen, installation view Kara's work has been exhibited internationally including the Kunst Halle Sankt Gallen; the Kunsthalle Zürich; the Kunstverein Düsseldorf; the Museum De Fundatie, Zwolle; the Philara Foundation, Düsseldorf; the Frac des pays de la Loire, Nantes; the Mead Gallery | Warwick Arts Centre, Coventry; the Neue Galerie Gladbeck; the Ludwig Forum Aachen; the Kölnischer Kunstverein; the Wiels Contemporary Art Centre, Brussels; the Kunstverein Göttingen; the Witte de With Center for Contemporary Art, Rotterdam; the Yuz Museum, Shanghai and the Dortmunder Kunstverein in Dortmund. She participated in the 58th Carnegie International in Pittsburgh, curated by Sohrab Mohebbi.

artist

Melike Kara 
Kunst Halle Sankt Gallen

Davidstrasse 40
CH-9000 St. Gallen

Switzerlandshow map
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posted 19. Sep 2023

Hier und Jetzt II - Wien Skulptur 2023

06. Jun 202330. Oct 2023
Rennweg 110-116, Halle 2 06 Juni – 30 Oktober 2023 **Hier und Jetzt II** Wien Skulptur 2023 Kuratiert von Herwig Kempinger, Kasia Matt-Uszynska Die Ausstellung “Hier und Jetzt II“ bietet als Fortsetzung des Projektes „Hier und Jetzt I“ eine Plattform für die in Wien lebenden Künstlerinnen und Künstler, die im Bereich Skulptur und Objektkunst arbeiten. Sie gibt einen Einblick in die Qualität und Vielfalt der Wiener Bildhauerszene der letzten Jahre und thematisiert mit den unterschiedlichen in ihr vertretenen künstlerischen Haltungen die Vielfalt dieses Mediums. Dabei vereint die Ausstellung „Hier und Jetzt“ unterschiedliche Künstlergenerationen und Skulpturenkonzepte. „Hier Und Jetzt II“ wurde gemeinsam mit den Künstlerinnen und Künstler für die Räume des ehemaligen Autohauses St. Marx konzipiert, was den Arbeiten durch die neue Kontextualisierung auch neue Perspektiven und Lesarten gibt. Die Künstlerinnen und Künstler greifen auf verschiedenste Materialien von Stahl über Wachs, Stoff, Pappmaschee, Holz, bis LED-Screens zurück und loten das Potential von Skulptur immer wieder neu aus. Die Vielfalt der Arbeiten reicht von abstrakten metallenen Konstruktionen über filigrane Raumkonstruktionen, figurativen Skulpturen bis hin zu im Raum schwebenden Objekten. Das Interesse der Künstlerinnen und Künstler gilt der Auseinandersetzung mit Raum, Dimension, Form und Material, dem Phänomen Skulptur ebenso wie Genderfragen, gesellschaftlich - politischen Debatten und individuellen Phänomenen von Gedächtnis und Erinnerung. Dabei belegen die Arbeiten der teilnehmenden KünstlerInnen nicht nur die Spannbreite, dessen, was Skulptur heute ist und sein kann, sie laden auch zu einer Debatte über die Theorie und Praxis der zeitgenössischen Skulptur. Künsterinnen und Künstler: Thomas Baumann , Manfred Erjautz , Judith Fegerl , Andreas Fogarasi , Christoph und Markus Getzner , Sophie Hirsch , Jakob Lena Knebl , Christian Kosmas Mayer , Hans Kupelwieser , Anita Leisz , Kris Lemsalu , Irina Lotarevich , Claudia Märzendorfer , Liesl Raff , Werner Reiterer , Sofie Thorsen , Philipp Timischl , Camila Sposati , Esther Stocker , Erwin Wurm , Heimo Zobernig , Can Yasargil, Marcus Geiger
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posted 18. Sep 2023

Ryan Gander: PUNTO!

15. Sep 202328. Oct 2023
27 Bell Street, London 15 September – 28 October 2023 Ryan Gander: PUNTO! Ryan Gander presents a new animatronic installation that questions our obsession with the economics of growth over stasis and stability, alongside a new series of bronze figurative works and an over-animated / over-annotated documentary, originally made for the BBC, both relating to the idea of the self and the dramaturgical nature of the masks we choose to wear and the masks that choose to wear us. Ryan Gander has established an international reputation through artworks that materialise in many different forms – from sculpture to film, writing, graphic design, installation, performance and more besides. Through associative thought processes that connect the everyday and the esoteric, the overlooked and the commonplace, Gander’s work involves a questioning of language and knowledge, as well as a reinvention of both the modes of appearance and the creation of an artwork. His work can be reminiscent of a puzzle, or a network with multiple connections and the fragments of an embedded story. It is ultimately a huge set of hidden clues to be deciphered, encouraging viewers to make their own associations and invent their own narrative in order to unravel the complexities staged by the artist. Ryan Gander RA OBE (born 1976, Chester, UK) lives and works in Suffolk and London. He studied at Manchester Metropolitan University, UK; the Rijksakademie van Beeldende Kunsten, Amsterdam, Netherlands; and the Jan van Eyck Akademie, Maastricht, Netherlands. The artist has been a Professor of Visual Art at the University of Huddersfield and holds an honorary Doctor of the Arts at the Manchester Metropolitan University and the University of Suffolk. In 2017 he was awarded an OBE for services to contemporary art. In 2019 he was awarded the Hodder Fellowship at Princeton University. In 2022, he was made RA for the category of Sculpture. Recent solo shows have been held at Ishikawa Cultural Foundation, Okayama, Japan (2023); Annet Gelink, Amsterdam, The Netherlands (2023); Tokyo Opera City Art Gallery, Tokyo, Japan (2022); East Gallery at NUA, Norwich, UK (2022); Space K, Seoul, South Korea (2021); Lisson Gallery, New York, USA (2020); Kunsthalle Bern, Switzerland (2019); Lisson Gallery, Shanghai, China (2019), Esther Schipper, Berlin, Germany (2019), 21st Biennale of Sydney, Australia (2018), TARO NASU, Tokyo, Japan (2018); gb Agency, Paris, France (2018); Dazaifu Shrine, Fukuoka, Japan (2017); Remai Modern, Saskatoon, Canada (2017); The Contemporary Austin, TX, USA (2017); the National Museum of Art Osaka, Osaka, Japan (2017); Hyundai Gallery, Seoul, South Korea (2017); Museum Dhondt-Dhaenens, Deurle, Belgium (2016); Aspen Art Museum, Aspen, CO, USA (2016); Contemporary Art Gallery, Vancouver, Canada (2015); Australian Centre for Contemporary Art, Melbourne, Australia (2015); Singapore Tyler Print Institute, Singapore, Singapore (2015); and Manchester Art Gallery, Manchester, UK (2014). Major projects include Liverpool Biennale, UK; Sydney Biennale, Sydney, Australia; British Art Show 8, Leeds, UK; Performa 15, New York, NY, USA; Panorama, High Line, New York, USA; Imagineering, Okayama Castle, Okayama, Japan; 'The artists have the keys', 2 Willow Road, London, UK; Unlimited, Art Basel, Basel, Switzerland; Parcours, Art Basel, Basel, Switzerland; Esperluette, Palais de Tokyo, Paris, France; dOCUMENTA (13), Kassel, Germany; 'Locked Room Scenario', commissioned by Artangel, London, UK; ILLUMInations at the 54th International Art Exhibition of the Venice Biennale, Venice, Italy; 'Intervals' at Solomon R. Guggenheim Museum, New York, NY, USA; and 'The Happy Prince', Public Art Fund, Doris C. Freedman Plaza, Central Park, New York, NY, USA.

artist

Ryan Gander 
LISSON GALLERY London

27 Bell Street
NW1 5DA London

United Kingdom of Great Britain and Northern Irelandshow map
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posted 17. Sep 2023

How Many Worlds Are We?

20. Jul 202329. Oct 2023
July 20–October 29, 2023 How Many Worlds Are We? Artists: Ayrson Heráclito (Brazil), Jonathas de Andrade (Brazil), Pratchaya Phinthong (Thailand), Soe Yu Nwe (Myanmar), Tawatchai Puntusawasdi (Thailand), Torlarp Larpjaroensook (Thailand), Vasco Araújo (Portugal), Vuth Lyno (Cambodia), Wantanee Siripattananuntakul (Thailand), Yonamine (Angola) Curator: Alexandre Melo How Many Worlds Are We? explores the notion of East and West in traditional and contemporary cultural practices between Amazonas and Southeast Asia. The transformation of the dynamics of cultural relations between regions, made distant in the past due to geography, is revealed today as an important factor in the decisive mutations in the social landscape of the world we live in. This exhibition shows an array of parallels to be drawn between cultural experiences in an attempt to understand the presence of “nature” and the “spirit” of the “forest”. According to curator Alexander Melo’s research and reflections made during the past few years in the West, namely in Latin America (mainly in Brazil and in the states of Amazonas and Bahia), and in the East (mainly in Thailand and other Southeast Asian countries), this exhibition arose with the aim of gathering a diverse group of contemporary artists active in these regions. Besides a decentering of geo-cultural perspectives, we search for the possibility of a confrontation between different ways of relating to notions like nature, spirituality or humanity. The approach is not anthropological or ecological, in a strict sense, but still takes “nature” and “spirit”—namely in relation to the “forest” and the entities that inhabit it, in Brazil or in Thailand—as main topics or references to help the audience understand the knowledge, motivations and expectations expressed in the work of the selected artists, namely, in the way in which they articulate an eventual affiliation to a specific cultural tradition with potential insertion in the global dynamics of popular mass culture. The sculptures, installations, photography, and film in this exhibition investigate how we can re-imagine our relations with nature and the realm of the spiritual within a kind of poetic intelligence as it manifests itself in the work of the artists we present. How many worlds are we? About curator: Alexandre Melo PhD and Master in Economics, Doctorate in Sociology and Professor of Sociology of Art and Culture (ISCTE-IUL), curator and art critic. Since the early 1980s, has written for publications such as Jornal de Letras (Lisbon), Expresso (Lisbon), El País (Madrid), Flash Art (Milan) or Parkett (Zurich). He is a regular contributor to Artforum (New York). He curated exhibitions in Portugal and abroad: 10 Contemporary, Serralves Museum, Porto; Eduardo Batarda, Gulbenkian Foundation, Lisbon: Venice Biennial—Julião Sarmento; São Paulo Biennial—Rui Chafes / Vera Mantero; Portugal Novo, Pinacoteca São Paulo, etc. Recent exhibitions: Liquid Skin - Apichatpong Weerasethakul / Joaquim Sapinho, MAAT, Lisbon; Roi Soleil—Albert Serra, Galeria Graça Brandão, Palácio Pombal, Lisbon; E pluribus unum—Douglas Gordon, Miroslaw Balka, Rui Chafes, Galeria Marília Razuk, São Paulo; 1000 Imagens—John Baldessari, Joseph Kosuth, Lawrence Weiner, Renee Greene, Pratchaya Phintong, Rosângela Rennó, Wantanee Siripatananunthakul, etc, Galeria Cristina Guerra, Lisbon; Life, Still Life—Cristina Iglesias, Lia Chaia, Vasco Araujo, Galeria Presença, Porto. He was curator of the contemporary art collections “Ellipse Foundation” and “Banco Privado for Serralves”. He was Cultural Counsellor in the Portuguese Government (2005/2011).

curator

Alexandre Melo 
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posted 16. Sep 2023

Astrid Proll. Pictures on the Run

16. Sep 202314. Oct 2023
opening: 16. Sep 2023 04:00 pm
September 16 - October 14, 2023 **Astrid Proll. Pictures on the Run** EXILE is pleased to invite you to the opening of the solo exhibition Pictures on the Run at the gallery’s Erfurt location. The exhibition will present Astrid Proll’s widely-known photographs taken in November 1969 in Paris. Accompanied by a text from Alexandra Symons-Sutcliffe the genealogy of these iconic photographs is traced past their socio-political relevance into youth culture, vernacular snapshot photography and selfie culture. The exhibition in Erfurt will present a set of 13 photographs printed in 2008 for the exhibition MAN SON at Hamburger Kunsthalle together with various research material. The unique, one of a kind silver-gelatin vintage press prints from the archive of Der Stern Magazine will be on view at this year's Art Cologne, Sector Collaborations, together with works from the same period by artists Sine Hansen (1942 – 2009) and Jobst Meyer (1940-2017). Astrid Proll has previously screened her film Der Zug aus Leipzig, 1988 at EXILE Berlin in 2009. →Der Zug aus Leipzig, EXILE, 2009 →Man Son, Hamburger Kunsthalle, 2009 Exhibition opening: Saturday, September 16, 4-7pm Exhibition duration: September 16 - October 14, 2023 EXILE Erfurt opening hours: Sat, 11-3pm & by appointment To make an appointment outside of opening hours please email us: erfurt@exilegallery.org

artist

Astrid Proll 
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posted 15. Sep 2023

NONMEMORY

15. Sep 202314. Jan 2024
15.09.2023 - 14.01.2024 DOWNTOWN LOS ANGELES NONMEMORY Curated by Jay Ezra Nayssan, ‘Nonmemory’ brings together seminal works by Mike Kelley and a group of seven contemporary artists – Kelly Akashi, Meriem Bennani, Beatriz Cortez, Raúl de Nieves, Olivia Erlanger, Lauren Halsey, Max Hooper Schneider – whose works all play with the role of memory as it posits our perceptions of space and place. Through a variety of media and material, the artists in this exhibition use space as the repository for dreams, fantasies, traumas, and anxieties, while offering opportunities to re-imagine and recreate reality. The title of the exhibition ‘Non-memory,’ takes direct inspiration from Kelley’s use of the term, a way of treating, reordering, and representing the complex and unstable relationship between memory, space, and identity.

curator

Ezra Nayssan 
HAUSER & WIRTH Los Angeles

901 East 3rd Street
CA 90013 Los Angeles

United States of Americashow map
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posted 14. Sep 2023

SEE YOURSELF AS LOVERS SEE YOU - William N. Copley | Dorothy Iannone

13. Aug 202314. Jan 2024
13.08.2023–14.01.2024 Eröffnung: 13.08.2023, 14–18 Uhr SEE YOURSELF AS LOVERS SEE YOU William N. Copley | Dorothy Iannone Die Sammlung Philara freut sich, mit SEE YOURSELF AS LOVERS SEE YOU zwei international renommierte Positionen zu präsentieren: William N. Copley und Dorothy Iannone. Erstmals werden die Arbeiten des Künstlers und der Künstlerin, die 1993 unter dem Titel BERLINER AMERIKANER (gemeinsam mit dem Fluxus-Künstler Emmett Williams) im Haus am Lützowplatz, Berlin, ausstellten, in einer Gegenüberstellung gezeigt. Die Ausstellung nimmt Aspekte der Freiheit, Selbstbestimmung und der Ekstase körperlicher Liebe in den Blick. Dabei werden Querverbindungen sowie Unterschiede im Werk der beiden amerikanischen Künstler*innen thematisiert, deren Karrieren sich in Europa entfalteten und die ihre Werke mit einer bemerkenswerten Ausführlichkeit bis an ihr jeweiliges Lebensende umsetzten. Copley widmete sich seiner Malerei als mit der Kunstszene stark vernetzter Autodidakt ab 1951 in Paris. Iannone, die sich 1958 das Malen selbst beibrachte, besaß ebenfalls starke Verbindungen zu der Kunstszene. Sie lebte für etwa ein Jahrzehnt mit ihrem damaligen Partner Dieter Roth in Düsseldorf, Basel und Reykjavik. Dort verfasste sie u.a. das Buch Danger in Düsseldorf (or) I am not what I seem (1973). 1976 zog sie nach Berlin, ihre spätere Wahlheimat. In ihrer unbeschwerten Auseinandersetzung mit Geschlechter- und Rollenklischees, gesellschaft-lichen Normen und dem damit verbundenen Kampf gegen Zensur ebenso wie in der Würdigung des Alltäglichen und der Freiheit, die mit spielerischen Strategien einhergeht, führen Iannone und Copley aus, was bis dahin in der amerikanischen Kunst verdrängt worden war.[1] Zugleich werden in ihren Formulierungen wiederholender Bewegungen des Begehrens unterschiedliche Perspektiven deutlich, die in jeweils unverkennbarem Stil und visuellem Vokabular erscheinen. Im Werk beider Künstler*innen lassen sich Formulierungen von Freiheitlichkeit und der humorvolle Umgang mit Ikonografien, Symboliken, Narrativen und Text erkennen. Die Ausstellung wird mit Leihgaben u.a. der Ahlers Pro Arte Stiftung, Klaus Gerrit Friese, dem Kunstpalast Düsseldorf, Linn Lühn, Peres Projects, Barbara Wien und von regionalen Privatsammlungen unterstützt, die mitunter lange nicht ausgestellt waren. Ende des Jahres erscheint zudem ein Katalog zur Ausstellung im Verlag Kettler. ___ [1] Tal Sterngasts Beobachtung “Copley imposed his own desires on painting’s potential to exorcise a truth, introducing what had hitherto been repressed in American art: sex as a psychologically and socially liberating tool.” in seiner Frieze Review vom 4. März, 2020, lässt sich auf ihre eigene Weise auch auf Dorothy Iannones Werk übertragen.

artists & participants

William N. Copley,  Dorothy Iannone 
Sammlung Philara, Düsseldorf

PHILARA | Birkenstraße 47
40233 Dusseldorf

Germanyshow map
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posted 13. Sep 2023

Joëlle Tuerlinckx Summertime accrochage d’été avec oeuvres de la galerie

08. Jul 202330. Sep 2023
8 Jul – 30 Sept 2023 Joëlle Tuerlinckx Summertime accrochage d’été avec oeuvres de la galerie Windfiguren und Zeitfiguren auf Boden und Tisch 3 Floor Drawings made on site + 481 Minuten Hintergrundmusik* (extra interludes sonores: Christoph Fink) IntroductionDr. Clémentine Deliss, Associate Curator, KW Institute for Contemporary Art, Berlin Saturday, 8 Jul 2023 14:30 The material of the Hintergrundmusik is in development throughout the whole summer. It will be updated in real-time to result in a track of a few hundred minutes as announced. (…) This is how it is with the experience you can have: between the perception of reality and the representation of reality, between what you see and what disappears, what you hear and what is not, or no longer, visible – through registers of size, colour, nature and culture, opposed and brought together in one and the same ‘moment d’espace’ (Summertime). This is what every exhibition is: an exponential moment in space in which, suddenly, you are here. (…) — Joëlle Tuerlinckxnotes d’exposition, 2001 “Nothing will have taken place but the place” is what I borrow from Mallarmé. “I don’t know what I see except when I am working” is what brings me close to Alberto Giacometti. From the cinema, I summon up the ‘hors-champ’ [Out of the Field], of the visitor crossing the space, of his perception – just like Serge Daney, I see him, I idealize him as this “walker who accepts the idea that the show has always already begun”. — Joëlle Tuerlinckx With Summertime, Joëlle Tuerlinckx draws us into the warm haze of summers past. Oscillating between precision and playfulness, her new sculptures and collages combine rational geometry with an oneiric longing for tomorrow’s horizons. Wind and sun enter an open window in the gallery as if the outdoors was pushing for emotional space. We step over ‘dislocated’ drawings made from flat brass and aluminium plaques. These fine floor works connect to the series of Collages d’Atelier on the walls of the gallery. In one set, Tuerlinckx combines a computer-generated outline with a Chute d’Atelier. A small painting in monochrome scarlet is placed face-down, its pigment barely visible but for coloured stains that have seeped out to its edges. With others, the painted remnant is substituted by a picture postcard of a sunset or seascape. This time the illustration is turned over to reveal a title printed on the back of the card. We read phrases like “Paix du soir” [Evening tranquillity], or a line from a poem by the French poet-statesman, Alphonse de Lamartine, such as “Le soleil de demain ?” [Tomorrow’s sun?]. Today these idyllic vistas with their aftertaste of tourism and nostalgia speak another language, that of increasing unease at the degradation of the environment, the destruction of paradise. Tuerlinckx has a special relationship with photography and returns to it for the dreamlike recall it can unleash. A few years back, she papered a room in the Galerie nächst St. Stephan with an enlarged shot of a brick wall taken in her studio in Brussels. Now, for Summertime, she repeats the process, only this time with a found photograph of a centuries-old dwelling, an image she has looked at in her studio every day and which she translates into the rooms of the gallery. She deploys this found photograph as a decoy, a mnemonic lure so inherently enigmatic that it alters our experience of reality. In the same room, we find a blue kitchen table on which she places metal foils and circles cut out of transparent film. These Figures de Vent [Wind figures] swirl in the light and dance to the wind of a nearby fan as if they were moving to camera. Paintings, soaked in water and folded, protrude unevenly on the wall like sculptures. Drips of washed-out colour spot the walls and, together with the finest of copper wire, form part of a vast mural. With its subtle blue and yellow markings, it recalls the fresco painter who strokes the wall with leftover pigment to clean a brush. Meanwhile nylon thread, partially painted with colours, stretches across the room to meet tongues of paper that shake in the wind. With Lignes Café Tuerlinckx takes paper tablecloths from restaurants and marks them with optical lines, coloured like horizons. Elsewhere, a series of small works, Études de Cuisine [Kitchen Studies] resonate with a percussive quality drawn in crayon, tapped and rubbed, back and forth onto the paper for two hours or more. Tuerlinckx returns to a central challenge in her work: how to translocate the privacy of her world, that of her studio with its freedom of unresolved composition, into the hermetic frame of the gallery. With Summertime, it is sound that is charged with translocating this presence. In the distance we hear someone practising chords, perhaps a few lines from “Summertime” sung by Janis Joplin, but so faint one might be mistaken. Invisible to the eye yet located somewhere in the gallery, this sonic sculpture has a troubling presence that confuses the wavelengths between lived and imagined experience. The configured agency and unusual beauty of her artworks offer us visual oxygen. Summertime encourages us to take a pause and view the repeated fictions of our shared lives with humour and counterpoint. — Clémentine Deliss CLÉMENTINE DELISS is an independent curator and cultural historian. She studied art and anthropology in Vienna, London, and Paris and lives and works in Berlin. She is Associate Curator at KW Institute for Contemporary Art in Berlin where she is preparing the forthcoming exhibition, “Skin in the Game” – opening 13 September 2023 – with artworks and a collaborative choreography by Joëlle Tuerlinckx.
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posted 12. Sep 2023

Rita McBride - Momentum

01. Jul 202301. Jan 2025
Rita McBride - Momentum October 13–15, 2023 Since the mid-1980s, Rita McBride has developed a conceptual, cross-disciplinary, intermedia, and feminist approach to art making that holds collaboration at its center. This exhibition centers on the artist’s long-standing interest in architecture, design, and sculpture as they relate to the public sphere in forms such as seating structures, movement-guiding systems, and commercial awnings. At the core of Rita McBride: Arena Momentum, on view at Dia Beacon, is Arena (1997), a lightweight, modular structure in the form of a tribune that is activated by the presence of audiences and performers alike. Alongside Arena are freestanding and wall-mounted artworks from the last two decades that reflect McBride’s longstanding interest in how public infrastructures shape ways of looking. Arena becomes an arena when animated by people in an ongoing and open process that is punctuated by choreographed engagements. For the duration of the presentation at Dia Beacon, an expanding body of artists, performers, writers, musicians, and dancers will activate physical and virtual spaces as part of a series of engagements with Arena. The series, collectively called Momentum, is initiated by McBride with experimental performance collective discoteca flaming star (founded by Cristina Gomez Barrio and Wolfgang Mayer) and choreographer Alexandra Waierstall. Momentum is live at Dia Beacon, October 13–15, 2023. Rita McBride: Arena Momentum is organized by Alexis Lowry, curator, with Emily Markert, curatorial assistant. All exhibitions at Dia are made possible by the Economou Exhibition Fund.   Rita McBride: Arena Momentum is made possible by major support from Brenda R. Potter. Significant support provided by Erika Glazer, and additional support by a Board Discretionary Grant of the Robert Rauschenberg Foundation, and Graham Steele and Ulysses de Santi. Rita McBride was born in Des Moines in 1960. She currently lives and works in Los Angeles and Düsseldorf.

artist

Rita McBride 
Dia Beacon

3 Beekman street
NY-12508 Beacon

United States of Americashow map
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posted 11. Sep 2023

Laure Prouvost: Stranded By Your Side

07. Sep 202314. Oct 2023
508 West 24th Street New York, 7 September – 14 October 2023 Laure Prouvost: Stranded By Your Side Lisson Gallery presents Laure Prouvost’s second exhibition with the gallery in New York and her first since 2018. Known for her films, immersive installations, and playful use of language and (mis)translation, the Turner Prize winner works across an array of mediums to address complex contemporary issues with intimacy and humour. Video, textile, painting, sculpture, text, and installation are employed to grapple with themes of migration, motherhood, and ecological awareness. The presentation follows the debut of ‘Laure Prouvost. Above Front Tears Oui Float’, the first site-specific solo installation for the Light Hall at Norway’s Nasjonalmuseet in October 2022.
LISSON GALLERY New York

LISSON GALLERY | 504 West 24th Street
NY 10011 New York

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posted 10. Sep 2023

ED RUSCHA / NOW THEN

10. Sep 202306. Jan 2024
10.09.2023 - 06.01.2024 **ED RUSCHA / NOW THEN** MoMA ANNOUNCES ED RUSCHA / NOW THEN, THE ARTIST’S MOST COMPREHENSIVE RETROSPECTIVE TO DATE Exhibition Will Explore the Artist’s Influential Career by Gathering over 250 Works in All Media Spanning 65 Years NEW YORK, NY, October 19, 2022–The Museum of Modern Art announces ED RUSCHA / NOW THEN, the most comprehensive presentation of the artist’s work, and his first solo exhibition at the Museum, from September 10, 2023, through January 6, 2024, in the Steven and Alexandra Cohen Center for Special Exhibitions. Spanning 65 years of Ed Ruscha’s remarkable career and mirroring his own cross-disciplinary approach, the exhibition will feature over 250 works, produced from 1958 to the present, in various mediums—including painting, drawing, prints, film, photography, artist’s books, and installation—displayed according to a loose chronology throughout the Museum’s sixth-floor galleries. Alongside the artist’s most acclaimed works, the exhibition will highlight lesser-known aspects of his practice, offering new perspectives on one of the most influential figures in postwar American art and stressing Ruscha’s role as a keen observer of our rapidly changing world. ED RUSCHA / NOW THEN is co-organized by MoMA and the Los Angeles County Museum of Art (LACMA). The exhibition is organized by Christophe Cherix, The Robert Lehman Foundation Chief Curator of Drawings and Prints, with Ana Torok, The Sue and Eugene Mercy, Jr. Assistant Curator, and Kiko Aebi, Curatorial Assistant, Department of Drawings and Prints. Following its presentation at MoMA, the exhibition will travel to LACMA, where it will be realized in association with Michael Govan, CEO and Wallis Annenberg Director, from April 7 through October 6, 2024.

artist

Ed Ruscha 
MOMA - The Museum of Modern Art, New York

MOMA | 11 West 53 Street
NY-10019 New York

United States of Americashow map
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posted 09. Sep 2023

Anton Vidokle and the Institute of the Cosmos

01. Jul 202328. Oct 2023
Anton Vidokle and the Institute of the Cosmos July 1–October 28, 2023 Conversation: July 1, 3–5pm, Anton Vidokle and Sarah Wilson Sirius Arts Centre in Cobh, County Cork, Ireland presents the exhibition Anton Vidokle and the Institute of the Cosmos. The exhibition features four films that look at Cosmism through themes of biopolitics, immortalism, interplanetarianism, revolution, nutrition, utopia, resurrection, and museology: Autotrofia (2020–23) and the trilogy This Is Cosmos (2014), The Communist Revolution Was Caused by the Sun (2015), and Immortality and Resurrection for All! (2017). It also features a specially designed Institute of the Cosmos gallery; part library, part archive, and part classroom, this includes a timeline of Cosmism and an extensive selection of historical and contemporary texts exploring Cosmism and related topics. Cosmism is a constellation of theories and projects—philosophical, artistic, scientific—informed by the writings of the philosopher Nikolai Fedorov (1829–1903). It brings together discourses of Marxism, Orthodox Christianity, Enlightenment, and Eastern philosophy. Furthermore, it involves conceptions of technological immortality, resurrection, and space travel, and speculates on how these might be materialized through artistic, social, and scientific means. Vidokle’s films are “tableaux vivants” operating between fact and fiction, reality and otherness, poetics and ideology. They trace the history and current relevance of Cosmism and evolve into broader reflections about historical and more recent understandings of death and technologicalimmortality. They elucidate how Cosmism aims to overcome time-space finitude through cooperative, creative endeavors toward a “more-than-human” universalism. The films mix voice-over narration, soundtracks (original scores and ambient sound), dialogue, quotes from essays by Fedorov and other thinkers, and intellectual and aesthetic references ranging from Constructivism to speculative interactions between natural phenomena and societal transformations. They were shot in Altai in Siberia, Almaty and Karagandy in Kazakhstan, Moscow, Tokyo, Kyiv, Oliveto-Lucano in Italy, and beyond, and employed local amateur actors and extras, including artists, farmers, taxi drivers, dancers, and security guards. This Is Cosmos introduces the cosmos as not only outer space but also something involving invisible cosmic energies moving through the currents of terrestrial-aquatic ecologies, both within our bodies and as part of our everyday lives. The Communist Revolution Was Caused by the Sun analyzes philosophical and political semblances between Cosmism and Communism, as well as the Sun’s impact on history. Immortality and Resurrection for All! focuses on the museum as a site of resurrection, looking at collection and conservation as means to the material restoration of life. Autotrofia considers the willingness and capacity for humans to become autotrophic beings, no longer controlled by the heterotrophic desire to kill and eat other living organisms. The Institute of the Cosmos was initiated by Arseny Zhilyaev and Anton Vidokle in 2019 as “a space for a creative investigation of the materiality of the cosmos.” The gallery at Sirius Arts Centre dedicated to the Institute of the Cosmos is a site-specific manifestation of varying elements of the digital version of the Institute of the Cosmos, and serves as the setting for a series of events—screenings, reading group sessions, and panel discussions—that meditate on, or prompt the emergence of, situated radical imaginaries and bodies of knowledge. Anton Vidokle and the Institute of the Cosmos is produced by Sirius Arts Centre and curated by Miguel Amado, director, in dialogue with Vidokle. Exhibition launch Anton Vidokle in conversation with Sarah Wilson: Anton Vidokle and Professor Sarah Wilson, of the Courtauld Institute of Art, London, exchange views on the exhibition and engage with the legacies and the political and aesthetic potential of Cosmist ideas and imagery. About the artist Anton Vidokle is an artist and filmmaker based in New York and Berlin. He is a founding editor of e-flux journal. His films have been presented at museums, festivals, and events worldwide, including the Yokohama Triennale (2020), the National Museum of Modern and Contemporary Art, Seoul (2019), Haus der Kulturen der Welt, Berlin (2017), the Venice Biennale (2015), the Istanbul Biennial (2015), the Moscow Biennale (2015), Documenta 13, Kassel, Germany (2012), and the Taipei Biennial (2012), as well as at the Berlinale International Film Festival, the Locarno Film Festival, the Moscow International Experimental Film Festival, and Doclisboa.

artist

Anton Vidokle 

curator

Miguel Amado 
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posted 08. Sep 2023

Nathalie Djurberg & Hans Berg - Only for the Wicked

10. Jun 202305. Nov 2023
Nathalie Djurberg & Hans Berg Only for the Wicked June 10–November 5, 2023 Only for the Wicked by Nathalie Djurberg & Hans Berg is an exhibition set in the underworld, leading us into an environment of winding mine shafts and caves. Large-scale installations, sculptures, video works and powerful music transport visitors to a hidden treasure chamber and an ongoing, meandering treasure hunt. We are led through dark, intimate passages, where works of art appear at intervals, like precious gems. Djurberg & Berg are masters of creating atmospheres and ambiguous situations, transporting us between different moods and states of mind, where what we see is twisted and warped and constantly needs to be renegotiated. This takes place in the many-layered and ongoing narrative, and in their exceedingly physical soundtrack. With humour and darkness, they portray complex behaviours, where playful situations of pleasure suddenly transform into disgust and boundaries are constantly being moved and transgressed. Thematically, the works in the exhibition highlight how greed and the quest for riches, success and power change a person profoundly, urging us to an incessant search for more, in an obsessive, toxic spiral. They also reflect the dangers of over-consumption and the depletion of collective global resources, and their consequences in a larger perspective. This exhibition will be the world premiere for several new works: the video clay animation Only for the Wicked—consisting of seven films, which also provided the exhibition title, the three gilt sculptures Portrait of a Wicked, 1, 2 & 3, and the installation The Stone Garden. Borås Konstmuseum warmly thanks the artists and Lisson Gallery (London, Shanghai, Beijing, New York, East Hampton, Los Angeles).
Boras Konstmuseum

Borås Konstmuseum, P A Halls terrass
SE-501 15 Borås

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posted 07. Sep 2023

Beatriz Milhazes - Maresias

27. May 202310. Sep 2023
Beatriz Milhazes Maresias May 27 – Sep 10, 2023 Turner Contemporary is pleased to present Beatriz Milhazes: Maresias, a survey of the work of Beatriz Milhazes, widely recognised as one of the leading abstract artists working today. Beatriz Milhazes (b.1960, Rio de Janeiro) is widely recognised as one of the leading abstract artists working today. Maresias, Milhazes’ first UK solo institutional exhibition in over two decades, will bring together 20 key paintings and 5 works on paper from 1989 to more recent years to trace the evolution of Milhazes’ artistic approach over the past four decades. A major installation will also be presented in the Sunley Gallery Window. Milhazes emerged in the 1980s as a leading figure in the important Brazilian art movement Geração Oitenta (1980s Generation), which moved away from the austere conceptual art of the previous decade and embraced painting as a form of energy and expression. Today, Milhazes is known for intensely colourful, large-scale abstract canvases which present energetic contradictions: from the tension between carefully planned construction and appearance of spontaneity, to slick surfaces that belie tiny cracks and layers. Nature is an enduring and increasingly important theme in Milhazes’ work. Encouraging us to reflect on our own relationship with the environment, Maresias will speak to Turner Contemporary’s unique coastal location and the new strand of the gallery’s programme dedicated to contemporary ecological issues.
Turner Contemporary, Margate

Rendezvous
CT9 1HG Margate

United Kingdom of Great Britain and Northern Irelandshow map
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posted 06. Sep 2023

Allora & Calzadilla - Entelechy

11. May 202312. Nov 2023
Allora & Calzadilla Entelechy May 11–November 12, 2023 Serralves is pleased to announce a major exhibition of the artists Allora & Calzadilla: Entelechy. A project both conceived and meticulously planned in close collaboration with the artists themselves, the present exhibition is the first mid-career survey of the artistic duo and a unique opportunity to experience in person a selection of their most celebrated works, some of which have never been shown in Europe. The concept of “entelechy”, dating back to Aristotle, entails a sense of self-realized potential and vital force driving the development of every being; but it can also refer, in common language, to the unattainable perfection of an idea. This notion reflects the poetic and philosophical complexity of Allora & Calzadilla’s ongoing practice while it directly gives name to one of their most ambitious productions to date: a monumental coal sculpture cast from a tree struck by lightning (Entelechy, 2020). The artists sourced a scots pine tree found in the forest of Montignac, France, where a group of teenagers discovered the now-famous Lascaux Cave in 1940 from the path famously indicated by a similar tree’s upturned roots. Thus, an underground cavern containing hundreds of prehistoric wall drawings emerged in the middle of the geopolitical upheaval of World War II. The only image of a human figure ever found in the cave—representing a hybrid of human and bird—becomes, in the meantime, the basis for the score that the composer David Lang developed together with Allora & Calzadilla as a performative dimension of this work. A look at more than two decades of practice, that reveals new connections in an open-ended chronology, this ambitious presentation brings together some of the duo’s most iconic pieces, including early installations such as Chalk (1998), a set of twelve human-size chalks installed in Porto’s municipal Parque da Cidade, inviting passers-by to engage with these unique mark-making instruments. Also featured in the show will be the body of work exploring the complex history of Vieques, an island off Puerto Rico that the United States Navy used as a bomb-testing site from 1941 until 2003. The project itself played a key role in the island’s social movements and has contributed decisively towards the debate on the relationships between the great world powers and the history of the Caribbean. Iconic films by the artists, such as Returning a Sound (2004), Under Discussion (2005) and Half Mast/Full Mast (2011), originated in the Vieques series as it thus encapsulated more than a decade of Allora & Calzadilla's research. The works in this exhibition highlight the interdisciplinary and collaborative nature of the artists' practice, as well as themes that run throughout their entire oeuvre, from the postcolonial condition to environmental justice and climate debt; geological time and the evolutionary history of life on Earth; geopolitics and energy resources. In this regard, this exhibition highlights a series of sculpture-performance based works that are central to Allora & Calzadilla's trajectory, such as Hope Hippo (2005), Stop, Repair, Prepare: Variations on ‘Ode to Joy’ for a Prepared Piano (2008), Lifespan (2014) and Entelechy (2020), which will be regularly staged throughout the course of the exhibition in collaboration with local musicians and performers.
Serralves Museum of Contemporary Art, Porto

Rua D. Joao de Castro, 210
4150-417 Porto

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posted 05. Sep 2023

Peter Cook Cities

18. Jul 202316. Sep 2023
Peter Cook Cities 18 July—16 September 2023 London Richard Saltoun Gallery is honoured to present the visionary work of British architect Sir Peter Cook. Drawing on his work over the past 60 years, the exhibition features a site-specific architectural environment produced especially for the gallery, together with a selection of drawings and paintings that trace the radical conceptual vision underpinning the artist’s oeuvre. Visitors are invited to have a ‘visual discussion’ about cities: cities reimagined and dismembered, and cities climbing over themselves to become new forms. The exhibition coincides with the 60-year anniversary of the exhibition Living City at the ICA, at that time on the same street as Richard Saltoun Gallery. In Living City Peter Cook, together with Warren Chalk, Dennis Crompton, David Greene, Ron Herron and Michael Webb – who were shortly after to become formally known as the celebrated neo-futurist architectural group, Archigram - extolled the transience and serendipity of cities with hot images collaged into a three-dimensional triangulated framework. Archigram brought forward radical ideas that have continued to serve as inspiration around the world, including pioneers of high-tech architecture such as Renzo Piano, Richard Rogers, Norman Foster and Rem Koolhaas. Since the 1960s, Cook has maintained an interest in the theoretical field of architecture and examining the future through the medium of drawing. By lifting the limitations of the physical world, drawing has freed him from the constraints of sites and economics, reinventing the look and function of cities through a range of unique, innovative designs. This becomes apparent in his ongoing series of works titled Arcadia, which he has produced continuously throughout his career, as well as one of his most notable projects, Plug-in City (also exhibited in ICA’s Living City). Developed between 1963 and 1966, these plans showed various iterations of prefabricated modular residences or ‘capsules’, modes of transportation, and other essential services that “plug in” to one central hyper structure. In the 1970s these designs softened and started to involve layers and vegetation. A tendency to mix and discover hybrids of natural conditions mixed with the mechanical and artificial accelerated through the 1980s and 1990s. Since then, the extension of the inherited architectural vocabulary has become a major preoccupation, exemplified by the artist’s series of ongoing architectural projects with the Cook Haffner Architecture Platform (CHAP). As Cook writes, he is not concerned with whole cities nor whole projects, but with accumulated fragments and scrambled bits of inspiration. Yet the ‘City’ has consistently remained central to his explorations: it is the essence of conglomeration, of confrontation of the unlike with the unlike, of the potential of unexpected mixtures. Cities at Richard Saltoun Gallery marks the artist’s return to a private gallery, celebrating the breadth and revolutionary impact of his work on the architectural canon and beyond. Cities is designed by Cook Haffner Architecture Platform, a multidisciplinary and experimental architecture office with a focus on culture, the city, and how space functions. CHAP Design team: Curatorial and exhibition design: Sir Peter Cook and Cong Ding Media and VR: Louis Peralta Special thanks to Myy Tran and Mert Ozbolat for the sculpture

artist

Peter Cook 
Richard Saltoun Gallery, London

41 Dover Street
W1S 4NS London

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