Archive

artists

Anne Hardy

15/05/2013
artists, exhibitions, photography, sculpture
Leave a Comment
© Anne Hardy

© Anne Hardy

Maureen Paley, London is pleased to announce a presentation of new work by Anne Hardy. This will be her third exhibition at the gallery. Following on from her recent solo show at the Secession in Vienna, Anne Hardy will present three photographs, Notations, Script and Shelf and two new sculptural installation works, Two Joined Fields – Field (/\) and Field (decagon) and Fieldwork (materials).

© Anne Hardy

© Anne Hardy

This sculptural continuation has grown out of her recent residency at the Camden Arts Centre. It is the first time she allows the viewer to enter an actual space of her making. In the past these were created solely to be photographed and were always destroyed afterwards. Breaking away from this former process allows her to expand her working methods and has given her a new dimension to explore within this exhibition. The structure was created in the space one month prior to the show opening and has slowly taken shape during that time period.

© Anne Hardy

© Anne Hardy

Anne Hardy received an MA in Photography from the Royal College of Art, London in 2000. Selected solo exhibitions include: Wiener Secession, Association of Visual Artists, Vienna, Austria, 2012 (cat.); Artist in residence, Camden Arts Centre, London, UK, 2011; Longside Gallery, Yorkshire Sculpture Park, Wakefield, Yorkshire, 2010; Maureen Paley, London, UK, 2009; ArtSway, Sway, UK, 2005; Laing Solo, Laing Art Gallery, Newcastle, UK, 2004 (cat.).

© Anne Hardy

© Anne Hardy

Selected group exhibitions include also: Signs of a Struggle: Photography in the Wake of Postmodernism, Victoria and Albert Museum, London, UK, 2011; Copenhagen Photo Festival, Copenhagen, Denmark, 2010; Newspeak: British Art Now, Saatchi Gallery, London, UK, 2010; New Photography in Britain, Galleria Civica di Modena, Italy, 2008; To be continued…/jaatku…, Kunsthalle Helsinki, Finland, 2005. In 2006 she was nominated for the MaxMara Art Prize for Women in association with the Whitechapel Gallery.

Maureen Paley 

 

Jorinde Voigt – 9 Times Philosophy

10/05/2013
artists, contemporary art, drawings, exhibitions, galleries
Leave a Comment
© T Magazine

© T Magazine

In 9 TIMES PHILOSOPHY, Jorinde Voigt’s second solo exhibit at Klosterfelde, Berlin, the artist presents a new group of drawings based on philosophical and literary texts, including Johann Wolfgang von Goethe’s “Prologue in Heaven” from Faust I, Epicurus’s “Letter to Menoeceus,” Wassily Kandinsky’s exchange of letters with Arnold Schönberg, works from Peter Sloterdijk, Douglas R. Hofstadter, Platon, Elias Canetti, and Paul Celan, and various “Haiku” from the most eminent Japanese poets.  Jorinde Voigt (born 1977) has developed a coded form of writing in her drawings to transform material phenomena into visual compositions. No matter how complex these processes are, the artist’s systems lend them at least an outward appearance of order. Through networks of lines, mathematical grids, and musical patterns that are at once chaotic and poetic, Voigt examines the workings of human perception and the factors that shape it.

Courtesy of Klosterfelde Gallery

Courtesy of Klosterfelde Gallery

In 9 TIMES PHILOSOPHY, Voigt allows the viewer to participate in her own experience of appropriation and her attempt to understand the texts at hand. The artist renders what she reads into a dense network of notes and surfaces that serve as placeholders for the images evoked. Each surface in the drawing represents a quoted passage that produces visual associations for the reader. Voigt sketches these imaginary forms on paper, cuts them out, plates them in gold, white gold, silver, platinum, or palladium, and fastens them back to their original place. The artist then combines this inlay technique with handwritten notations. Parameters such as “Rotationsgeschwindigkeit” (speed of rotation), “Himmelsrichtung” (cardinal direction), “Ausrichtung neues und altes Zentrum” (alignment of new and old center), or “Egomotion” (egomotion) contextualize the surfaces, which reflect subjective readings, in an objective system of orientation—the so-called “matrix.”

Courtesy of Klosterfelde Gallery

Courtesy of Klosterfelde Gallery

Within this ever-present grid, Voigt varies the procedure and mode of representation for each surface. Following Canetti’s lead in Crowds and Power (1960), the artist allows her body to become part of the drawing process: “Rhythm is originally the rhythm of the feet. Every human being walks, and, since he walks on two legs with which he strikes the ground in turn … whether intentionally or not, a rhythmic sound ensues,” Canetti writes. As she draws, Voigt walks on top of the paper, and the traces of her footprints determine the contours of the gold plating. “It was a kind of rhythmic notation imprinted on the soft ground and, as [the person] read it, he connected it with the sound of its formation.”

Courtesy of Klosterfelde Gallery

Courtesy of Klosterfelde Gallery

“The sea’s vast floods surge up and break / in foam against the rocks’ deep base, / and rock and sea are hurled along / in the eternal motion of the spheres,” trumpets Gabriel in the “Prologue in Heaven” from Goethe’s Faust. Voigt employs verses like these to translate Faust (1808) into monumental wave formations in shades of gold and silver. In the tableau of four drawings, on view in the first room of the exhibit, a rouge-colored area also emerges. This takes its inspiration from Mephistopheles, who tells the Lord: “Full healthy cheeks are what I best prefer.” The image and passage appear next to each other in Voigt’s drawings so that the viewer can better understand their relation. Different from figurative work such as Leonardo da Vinci’s famous “Water Studies” from 1517–18, Jorinde Voigt’s drawings are not meant as minutely accurate visual representations but rather as embodiments of the thought process itself, which is always influenced by personal experience, emotion, and memory…”

Courtesy of Klosterfelde Gallery

Courtesy of Klosterfelde Gallery

Voigt’s use of the non-colors gold and silver reflects the immateriality of her intellectual-philosophical pursuits. At the same time, the vibrancy of the shimmering, reflective precious metals contrasts with the starkness of Voigt’s systematic procedure. Jorinde Voigt lives in Berlin and was a winner of the 5th Drawing Prize from the Guerlain Foundation of Contemporary Art in 2012. Her work can be found in the collections of the Centre Pompidou Paris, the Museum of Modern Art New York, the Federal Collection of Contemporary Art (Bundeskunstsammlung) in Bonn, the Kupferstichkabinett Berlin, the Kunsthaus Zürich, and the Staatliche Graphische Sammlung in Munich. Voigt’s notations, musical scores, objects, and installations have been shown at the Nevada Museum of Art, the Royal Ontario Museum Toronto, the Museum van Bommel van Dam in Venlo, the Von der Heydt-Museum in Wuppertal, the Gemeentemuseum Den Haag, and the Heidelberger Kunstverein.

Klosterfelde Gallery 

Selected by Ingrid Melano

The Cookie House

09/05/2013
artists, contemporary art, exhibitions, video art
Leave a Comment

Fondazione Sandretto Re Rebaudengo, Turin, in collaboration with ENSBA – Lyon - École Nationale Supérieure des Beaux Arts, presents the first Italian solo show dedicated to Riikka Kuoppala. The artist and filmmaker was born in Finland in 1980, studied in Tampere, Helsinki and Pittsburgh (USA), and today lives and works in Lyon and Helsinki.

© Riikka Kuoppala

© Riikka Kuoppala

The cookie house is the title of this exhibition, which combines two video installations by the young Finnish artist, in an attempt at conveying the suggestions that have emerged from her practice in the past few years. Under a Burning City (2010) is about the memory of war, and the way in which it is passed on to the younger generations. The protagonists, a grandmother and her granddaughter, are looking at the traces that the war left on their city. They evoke memories and try to find a common language to share and recollect past experiences. The film is set in Helsinki, a city that was repeatedly targeted with bombings 70 years ago. Living with traumatic memories is one of the key themes of this film, along with the difficulty of passing these memories on to someone who has not lived them. The film’s protagonists experience their memories as stories that help them survive an identity crisis. The gingerbread house which they build together represents individual experience in relation to the official truth, a silent truth that clashes against the reality of the new generations.

© Riikka Kuoppala

© Riikka Kuoppala

Just like Hansel and Gretel’s gingerbread house, the cookie house Riikka Kuoppala invites us to explore is both fascinating and unsettling; sweet and irresistible on the one side, dark and frightening on the other – the two souls of memory, the two faces of emotion in connection with memory. We have all experienced first-hand the moment in which memory is passed on and re-lived – the power of these emotions, as sweet as they are insane, like a gingerbread cookie house, both sweet and spicy. Riikka Kuoppala manages to do away with the forced interpretation dictated by the emotional mechanism. She lets the oneiric, estranging, grotesque subtexts of the Brothers Grimm tale emerge, using them as the red thread that connects her works – the parent-children relationship, or better the absence of it, and the resulting, multiple metaphorical variations that can arise from these conflicts.

© Riikka Kuoppala

© Riikka Kuoppala

The video Couch, TV and VCR (2012) describes the identity crisis of an fictional adolescent, the questioning of her whole system of values, and her reaction to this. The installation connects different layers of her memory; it is a tale of how the family can sometimes be felt as a stressful, hostile, unfamiliar environment.

Fondazione Sandretto Re Rebaudengo

Selected by Ingrid Melano

Toby Ziegler – Borderline Something

08/05/2013
artists, exhibitions, paintings, sculpture
Leave a Comment
Courtesy of Max Hetzler Gallery

Courtesy of Max Hetzler Gallery

Galerie Max Hetzler, Berlin, is pleased to announce Borderline Something, its second exhibition with British artist Toby Ziegler. Ziegler has been captivated for a long time by our relationship with objects: a relationship that is at the core of this exhibition. The artist has designed a sort of meta-structure that responds to the architecture of the gallery. This white, wooden, linear structure snakes around the space, framing individual works as well as establishing relationships between them. It unifies the eleven paintings and four sculptures on display, and proposes a meandering route through the exhibition.

Courtesy of Max Hetzler Gallery

Courtesy of Max Hetzler Gallery

All works refer more or less obviously to fragments taken from still-life paintings, including works by the Flemish painter Hans Memling, and the Spanish masters Francisco de Zurbarán and Luis Eugenio Mélendez. Ziegler carefully chooses an image for specific iconographic and pictorial reasons, which becomes the source for one or more paintings or sculptures. The source imagery is cropped, discoloured and enlarged. The artist’s process uses computer software to transform the image, frequently beyond recognition, before it is translated into a painting or a sculpture that is painstakingly constructed by hand.

Courtesy of Max Hetzler Gallery

Courtesy of Max Hetzler Gallery

Ziegler’s paintings on aluminium present a singular brightness and transparency. They are composed of thousands delicate brushstrokes comparable to pixels. Grids or gradations in a single colour are sprayed over the image to produce a final layer that counterbalances the laborious mark making beneath. This kind of ‘necessary sabotage’ opens up the boundary between figuration and abstraction, reducing the evocation of the original motif to an elusive suggestion. This layering also slows down the reading of the imagery, echoing the protracted duration depicted in still life paintings.

Courtesy of Max Hetzler Gallery

Courtesy of Max Hetzler Gallery

The artist’s sculptures are produced through a similar process. A source image, frequently two-dimensional, is manipulated using 3D modelling software, before being translated into a faceted object made from a series of polygons. The objects are extracted from their original context in the source and are physically reconstructed, returning a sense of their three-dimensional autonomy. Most of the sculptures in this exhibition are made of concrete-canvas, a flexible fabric-like material that is impregnated with concrete and hardens into a rigid form when exposed to water.

Courtesy of Max Hetzler Gallery

Courtesy of Max Hetzler Gallery

Ziegler’s work addresses the boundaries between figuration and abstraction, sculptural and pictorial practice, architecture and drawing. The works’ titles all derive from the names of sunken ships, retracing the sense of disintegration suggested by the still life motif and the artist’s manipulations of his source imagery. This exhibition is an invitation to slow down and to get closer to the objects it engages with: to follow Ziegler‘s obsession by intensely trying to understand them.

Courtesy of Max Hetzler Gallery

Courtesy of Max Hetzler Gallery

Toby Ziegler was born 1972 in London, where he lives and works. He has participated in several solo and group exhibitions including The Cripples, in a London car park (2012); The Alienation of Objects, Zabludowicz Collection, London and Sarisalvo, Finland, New Art Gallery, Walsall and Museum of Contemporary Art Kiasma, Helsinki (2011-2012); Gold, Belvedere, Vienna (2012); The Future Demands Your Participation, Minsheng Art Museum, Shanghai (2010); Newspeak: British Art Now, The State Ermitage, St.Petersburg and The Saatchi Gallery, London (2009-2010); Hamsterwheel, initiated by Franz West, Malmö Konsthall (2008); Recent Abstraction, British Art Displays 1500-2007 at Tate Britain, London (2007). His work is featured in major private and public collections including The Arts Council of England; The British Council; Tate Britain; Saatchi Gallery; François Pinault Foundation; Zabludowicz Collection; Goss-Michael Foundation; Kadist Art Foundation; British Airways Collection; Hudson Valley Centre for Contemporary Art and Museum of Old and New Art, Tasmania.

Galerie Max Hetzler

Selected by Ingrid Melano

Gilberto Zorio

07/05/2013
artists, contemporary art, cult, exhibitions, galleries, installations, invitations, sculpture
Leave a Comment

After the retrospective exhibition at MAMbo, curated in 2009 by Gianfranco Maraniello, Lia Rumma Gallery is pleased to announce the solo exhibition of the artist Gilberto Zorio in the Milan space of Via Stilicone. The exhibition will develop over the three floors of the gallery, in an alternation of light and dark. Gilberto Zorio works with the space in dealing with “issues” ranging from the experience, confrontation, and the unknown.

Courtesy of MAMbo

Courtesy of MAMbo

In the great hall of the ground floor, the exhibition opens with a Star Tower building of gasbeton blocks star-shaped. The star, since ancient times, is a guiding instrument and symbol of desire. The tips of the Tower will extend and will propagate in the space in a radial pattern, in a clockwise direction. The interior of the tower will be partially visible and you will see the net luminescence caused by the sudden darkness.

Courtesy of MAMbo

Courtesy of MAMbo

Across the room will appear alchemical signs that are not normally visible. The ladles are sedans used to transport hand crucibles containing molten bronze, glowing, ready to be cast in the form of sculpture-valve in the negative forms. They usually play the role of instruments manufacturing the  sculpture, but in the case of the exhibition of Zorio turn working to become themselves works of art.

Courtesy of MAMbo

Courtesy of MAMbo

On the first floor, the exhibition continues with another Star Tower, in the space of sunlight, the   construction propagates in the outdoor area, along the terrace, while the work Luci 1968 attempt to compete with the glow of the sun, however, ready to illuminate itself and the darkness to come. On the second floor, obscured, there will be pyrex containers, containers of rubber, visible signs and interventions through the use of materials-recurring clots in the work of Zorio.

Courtesy of MAMbo

Courtesy of MAMbo

The luminescence and discharge, sparks Tesla, will be given to the three floors. Light, Darkness and explorations are related issues like the elements that indicate sedans, the star, chemical reactions, the energies. They are energies that are told.

Courtesy of MAMbo

Courtesy of MAMbo

Gilberto Zorio was born in 1944 in Andorno Micca, Biella. Lives and works in Turin. The protagonist of the movement formed in the mid-sixties in Italy, called Arte Povera, Gilberto Zorio from ’67 to now, in addition to exhibitions in private galleries, has exhibited in numerous solo shows at public exhibition spaces such as the Kunstmuseum in Lucerne (’76 ), the Stedelijk Museum in Amsterdam (’79), the Pinacoteca di Ravenna (’82), the Venice Biennale (’78, ’80, ’86, ’95, ’97), the Kunstverein in Stuttgart (’85) , the Centre d’Art Contemporain in Geneva and the Centre Georges Pompidou in Paris (’86), the Tel Aviv Museum and the Stedelijk Van Abbemuseum, Eindhoven (’87), Philadelphia’s Tyler School of Art (’88), the Museu Serralves in Porto (90), the IVAM in Valencia (’91), the Centre for Contemporary Art Pecci, Documenta in Kassel and the Musée d’Art Moderne et d’Art Contemporain in Nice (’92) , Galleria Civica d’Arte Contemporanea di Trento (’96), the Dia Center for the Arts in New York (2001), Le Creux de l’Enfer Centre d’Art Contemporain in Thiers and the Institut Mathildenhöhe in Darmstadt (2005 ), the Milton Keynes Gallery, Milton Keynes (2008), Mambo in Bologna (2009), the CGAC of Santiago de Compostela (2010), the MACRO in Rome (2010).

Lia Rumma 

MAMbo

Selected by Ingrid Melano

Rudolf Stingel’s exhibition in Venice

03/05/2013
architecture, art projects, artists, exhibitions, paintings
Leave a Comment
© Stefan Altenburger

© Stefan Altenburger

The exhibition Rudolf Stingel unfolds over the atrium and both upper floors of Palazzo Grassi, Venice, a space of over 5,000 square meters. For the first time, Palazzo Grassi is devoting the entirety of its space to the work of a single artist. It includes a site-specific installation as well as recent creations and previously unseen paintings. This is Stingel’s largest ever monographic presentation in Europe. The groundbreaking project, conceived by the artist expressly for Palazzo Grassi, spreads over all the rooms of the building, where carpeting based on an oriental rug covers the entire surface of the walls and floors.

© Stefan Altenburger

© Stefan Altenburger

The installation is part of Stingel’s artistic research, which has always analysed the relationship between exhibition space and artistic intervention: for the artist, the carpet is a medium through which painting relates to its architectural context. Interested in the redefinition of the meaning of painting and of its perception, Stingel places the carpet at the core of his poetics. It bears witness to the passage of time and people and is also a source of inspiration, with its variety of typologies and textures, for successive series of paintings. The exhibition presents a selection of over thirty paintings from collections around the world, including the artist’s collection and that of François Pinault. Many of these works were created in the studios of Merano and New York specifically for this project.

© Stefan Altenburger

© Stefan Altenburger

The pattern of the carpet, while bringing to mind the city’s past, also evokes a unique environment: Sigmund Freud’s study in Vienna, which was characterized by different oriental carpets laid on floors, walls, sofa and table. The artist’s reference to the office of the father of psychoanalysis offers a key to interpret the installation: the feeling of containment and the sensory experience that we discover when entering this labyrinth guide us into the Ego, with its repressions and illusions, where each painting contributes to forming a topography of the unconscious. The architectural space becomes a meditation place, a silent and enveloping site of introjection and projection. The use of the wall-to-wall carpet turns the exhibition’s path into one single environment while suggesting a new, rarefied and suspended atmosphere in which the silver, black and white of the paintings stand out, opening onto a new dimension.

© Stefan Altenburger

© Stefan Altenburger

In this sense, the exhibition turns into an inner journey the visitor is invited to experience freely: from the artist’s self-portrait partly hidden between the columns in the atrium to the silver glow of the abstract paintings on the first floor; from the rooms where the carpet becomes a painting to the black and white “portraits of sculptures” on the second floor. Centered on the relationship between abstraction and figuration, the exhibition displays the constant fluidity between these two polarities, and how they characterize the artist’s poetics. It also invites visitors to ponder the idea of portrait itself and the concept of appropriation of images. The upper floor hosts a selection of paintings that represent ancient wooden sculptures taken from black and white photographs and illustrations, and painted photo-realistically.

© Stefan Altenburger

© Stefan Altenburger

Born in 1956, Rudolf Stingel lives and works between New York and Merano, his hometown. His work has been at the centre of several exhibitions in numerous international institutions, including the Secession, Vienna (2012); the Neue National Galerie, Berlin (2010); the Museum of Contemporary Art, Chicago and the Whitney Museum of American Art, New York (2007); the Museum für Moderne Kunst, Frankfurt (2004); the Museo d’Arte Moderna e Contemporanea, Trento (2001). He took part in the Venice Biennial in 1993 and 2003. At Palazzo Grassi, his work has been presented in the exhibitions Where Are We Going? (2006), Sequence 1 (2007), Mapping the Studio (2009-2010) and The World Belongs to You (2011).

© Stefan Altenburger

© Stefan Altenburger

Palazzo Grassi

Selected by Ingrid Melano

Claes Oldenburg – The Street and The Store

02/05/2013
artists, contemporary art, cult, exhibitions, sculpture
Leave a Comment
© Claes Oldenburg

© Claes Oldenburg

Claes Oldenburg’s audacious, witty, and profound depictions of everyday objects have earned him a reputation as one of the most important artists of the 20th century. This exhibition examines the beginnings of Oldenburg’s extraordinary career with an in-depth look at his first two major bodies of work: The Street (1960) andThe Store (1961–64). During this intensely productive period Oldenburg redefined the relationship between painting and sculpture and between subject and form.

© Claes Oldenburg

© Claes Oldenburg

The Street comprises objects made from cardboard, burlap, and newspaper that together create an immersive panorama of a gritty and bustling city. The Store features brightly painted sculptures and sculptural reliefs shaped to evoke commercial products and comestibles. In The Store, cigarettes, lingerie, and hamburgers all become viable subjects for art.

© Claes Oldenburg

© Claes Oldenburg

On view in The Donald B. and Catherine C. Marron Atrium are Oldenburg’s Mouse Museum and Ray Gun Wing. Created in the 1970s, these two architectural structures present careful arrangements of readymade objects alongside various tests and experiments from Oldenburg’s studio. Mouse Museum and Ray Gun Wing propose equivalence between collecting and creating, while dissolving the distinction between everyday items and museum treasures.

© Claes Oldenburg

© Claes Oldenburg

The exhibition is organized by MUMOK Museum Moderner Kunst Stiftung Ludwig Wien and MoMA The Museum of Modern Art, New York. Organized by Achim Hochdörfer, Curator, Museum Moderner Kunst Stiftung Ludwig Wien; and Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator, and Paulina Pobocha, Assistant Curator, Department of Painting and Sculpture, The Museum of Modern Art.

Mumok

MoMA

Selected by Ingrid Melano

Dynamo – A century of light and movement 1913-2013

29/04/2013
artists, contemporary art, exhibitions, installations, mixed media
Leave a Comment
Courtesy of Grand Palais

Courtesy of Grand Palais

Following the style of the exhibition Soleil Froid at Palais de Tokyo, in the 4000 m2 area of Grand Palais, Paris, the exhibition Dynamo reveals how, over the last fifteen years, many artists have explored the notions of vision, space, light, structure and movement in their work, often encouraging visitors to take an active role in their installations: notable examples include the changing chromatic atmospheres of Olafur Eliasson and Ann Veronica Janssens, the vibrating structures and kaleidoscopic mirrors of Jeppe Hein and Anish Kapoor, and the in situ creations of Felice Varini.

Courtesy of Grand Palais

Courtesy of Grand Palais

About the exhibition the editors of Le Monde wrote: “This circle is it a circle or a square? Where are the top and bottom? This vacuum is it deep or narrow? I saw? What did I see? Beyond this exhibition there is the desire to disrupt perception and make people aware viewers of the fragility of their convictions and their perception – and of their psychic system.

Courtesy of Grand Palais

Courtesy of Grand Palais

The exhibition juxtaposes disruptive devices where it is often necessary to interact with. But the aim is also to provide the genealogy of these artists. Or reconcile these two requirements is difficult, precisely because of the intensity of the proposed experiments. Sensory impact and scholarly analysis does not necessarily go together. We therefore recommend to visit twice the Grand Palais”.

Grand Palais

Le Monde

Keith Haring – The Political Line

19/04/2013
artists, cult, culture, drawings, exhibitions, photography, political art, public art
Leave a Comment
Courtesy of Keith Haring Foundation

Courtesy of Keith Haring Foundation

The Musée d’Art Moderne de la Ville de Paris, in association with Le CENTQUATRE, is devoting a wide-ranging retrospective to American artist Keith Haring (1958-1990). The exhibition will bear witness to the importance of Haring’s work, in particular its profoundly “political” content, apparent in his work throughout his career. Le CENTQUATRE takes the retrospective further, presenting a selection of Keith Haring’s monumental works, notably one of his most important series: The Ten Commandments, dating from 1985. Massive in scale – ten panels, each seven meters high – the works reveal the artist’s radical interpretation of the Decalogue.

Courtesy of Keith Haring Foundation

Courtesy of Keith Haring Foundation

Almost 250 pictures on canvas and tarpaulins and from subway walls – as well as twenty monumental works – will be exhibited at Le CENTQUATRE, making this one of the largest presentations of Keith Haring’s works ever. Keith Haring was one of the most well-known artists of his time, and even today his inimitable style, with its strong, graphic line and repertoire of emblematic signs, remains familiar to all. Beginning with Documenta 7 in 1982, his work was exhibited alongside that of Andy Warhol, Jean-Michel Basquiat, Roy Lichtenstein, Robert Rauschenberg, Jenny Holzer and Daniel Buren, as well in museums and biennials around the world.

Courtesy of Keith Haring Foundation

Courtesy of Keith Haring Foundation

Haring studied at the School of Visual Arts in New York. Endowed with a genius for line, this virtuoso draughtsman – even as a child he drew endlessly –worked rapidly, tirelessly and was enormously prolific, frequently making work to the accompaniment of music. He worked on all kinds of surfaces and his response to contemporary media included disseminating reproductions of his imagery on merchandise, via his New York retail store, the Pop Shop, which he opened in 1986.

Courtesy of Keith Haring Foundation

Courtesy of Keith Haring Foundation

The political messages and ideas he communicated were not only a part of his legacy; they have had a very real influence on other artists and on society. His “subway drawings” paintings, works on paper and sculptures speak of social justice, individual freedom and change. A subversive, militant Pop icon, Haring was committed to social causes throughout his life: even when very young, he was driven by an urge to change the world.

Courtesy of Keith Haring Foundation

Courtesy of Keith Haring Foundation

Consciously and frequently choosing the street and public spaces to make contact with the widest possible audience, he fought indefatigably against racism, capitalism, violence and injustice in all their forms, with a particular emphasis on apartheid in South Africa, the threat of nuclear war, the destruction of the environment, homophobia and the AIDS epidemic (diagnosed HIV-positive in 1988, he established a charitable foundation, dedicated in part to helping those affected by AIDS and HIV). The layout of the exhibition provides a narrative of Haring’s socio- political obsessions. The exhibition has been curated by Dieter Buchhart and Odile Burluraux.

Musée d’Art Moderne de la Ville de Paris

CENTQUATRE 

Keith Haring Foundation

Selected by Ingrid Melano

BERLIN Gallery Weekend 26-28 April 2013

10/04/2013
artist collectives, artists, contemporary art, culture, events, exhibitions, galleries, installations, mixed media, paintings, photography, project space, sculpture, vernissages, video art
Leave a Comment

Don’t miss Berlin Gallery Weekend, on 26-28 April, 51 galleries will present a comprehensive overview of current trends in the art market. Participating galleries and artists:

© Alex Israel

© Alex Israel

Galerie Guido W. Baudach ? Thilo Heinzmann: In the current space on Savignyplatz and in the future space in the Tagesspiegel-Hochhaus on Potsdamer Strasse, Galerie Guido W. Baudach will present a seventh solo exhibition with new work by Thilo Heinzmann. For almost twenty years, Thilo Heinzmann has been dedicated to the development of new compositional possibilities within the broad field of painting.

Isabella Bortolozzi Galerie ? Oscar Murillo: Mainly textile work, but also mixed-media installations will be on display in the new project space on Bülowstrasse and in a bunker on Lützowstrasse. Oskar Murillo?s works reveal an often political statement, addressing issues of social class, economy and industrial production through material and working practices.

BQ ? Alexandra Bircken: In her sculptures, the artist combines textile fragments with things found in nature, hand-made objects and items with an industrial origin, establishing a relationship between biological processes, industrial production and technology. Parallel during the exhibition period, an installation by the artist will be on display in the pavillion of the Volksbühne on Rosa-Luxemburg-Platz.

Galerie Buchholz ? Tomma Abts: The British artist will show a group of new images and large-format drawings.

Buchmann Galerie ? Bettina Pousttchi: Following the photo installation ?Framework? for the Schirn Kunsthalle Frankfurt in 2012, here another extensive photographic work is the focus. Since 2008, Bettina Pousttchi has been photographing public clocks in different cities. The body of work will be finished at the end of 2013 when shots from 24 time zones together depict a ?photographic world clock?.

Capitain Petzel ? Maria Lassnig: Since the beginning of her artistic practice in the 1940s, with her painting and drawing the Austrian artist has been concerned almost exclusively with the visualization of internal bodily sensations. Maria Lassnig, born in 1919, has gained widespread international attention, in particular with her participation in the 1980 Venice Biennial and documenta in 1982 and 1997. Capitain Petzel will mainly show paintings and drawings directly from the artist?s studio.

Carlier | Gebauer ? Michel François: In this solo exhibition by Michel François ?Pieces of Evidence?, new objects are mounted as in an evidence room with the exhibition space as the setting. Independent of medium or material, with François objects become sculptures from which he draws inspiration for his photographs, videos, installations, performances and curatorial projects. Kirsi Mikkola / Jessica Rankin: In addition to the work from Michel François, works from Jessica Rankin can be seen in the project room and from Kirsi Mikkola in the showroom.

Galerie Mehdi Chouakri ? Hans-Peter Feldmann:
Hans-Peter Feldmann?s latest work was inspired by a booth still under construction at Art Basel. In the projection of a spotlight on an empty wall he saw an artwork in itself. In keeping with his penchant for the ?unhinging? of exhibition formats or his fascination with the everyday, Feldmann lets oblong flecks of light fall on blue- and green-painted gallery walls ? along with picture hooks. Significantly, the artist refers in this way to moments of the art market.

Circus ? Özlem Altin: In her multi-layered collages and installations, Özlem Altin combines found images with her own photographs, paintings and sculptural works. Her solo exhibition ?Cathartic Ballet? revolves around the representation of subjectivity and the simultaneous manifestation of presence and absence. The associative image-semantics that emerge paint a lyrical psychological portrait of inner states and the external constraints of human existence.

Contemporary Fine Arts ? Thomas Kiesewetter: Open vistas and compact volume, largesse and detailed precision, light forms and heavy metal ? the sculptures of Thomas Kiesewetter subsist on dissonance. /Markus Bacher: His work oscillates between representation and abstraction. Figurative or landscape associations are possible but not challenged. The many-leveled meaning is secondary to the scenic effect.

Galerie Crone ? Jerszy Seymour: Like a time capsule, ?The Universe Wants to Play? places people at the beginning and end of the world. Everyday materials in the here-and-now, at once primordial and futuristic. Here one struggles against demons, loves the future and clamors for the present. ?The Universe Wants to Play? peoples one?s own mind and one?s own planet.

Croy Nielsen ? Mandla Reuter

Galerie Eigen+Art ? Carsten Nicolai: Carsten Nicolai?s installation, ?crt mgn? plays with neon tubes transferring light to a picture tube while magnets allow for color shifts and distortions in shape, facilitating a potentially endless archive of images. / Jürgen Mayer H.: On lab premises, Jürgen Mayer H. will show a specially-developed room installation of sculpture and wall painting, as well as a selection of drawings, objects, collages and photographs.

Jan Dibbets

Jan Dibbets

Konrad Fischer Galerie ? Jan Dibbets: For the first time in Germany, Konrad Fischer Galerie will show large-format works from the series ?New Color Studies 1976/2012?. Based on negatives from the 1970s, Dibbets harnesses the technical possibilities of the dramatic enlargement of old subjects.

Galerie Cinzia Friedlaender ? Martha Jungwirth: In the exhibtion ?Pädagogisch Wertlos?, work from the late 1980s and early 1990s showing her abstract figurative style will be on display. During her almost half-century-long artistic career, the painter deliberately left no categorizations.

Michael Fuchs Galerie ? Silvia Gertsch & Xerxes Ach: The exhibition ?Silent Moments/Cosmic Light? presents the artist position of Silva Gertsch and Xerxes Ach. Silvia Gertsch?s glass paintings are filled with late summer light photons. She creates an impression, an aesthetic underlaid by a particular sensibility; this is reflected further in the work of Xerxes Achs. The aesthetics are expressed through sensual color experiences.

Gerhardsen Gerner ? Dirk Stewen: In his exhibition ?Paper Sir?, Dirk Stewen integrates photographis into each of the works. They are painted over, turned into negatives and surrounded by abstractions. He thereby exploits his own production, within which the exhibited works are merely points of concentration.

Galerie Michael Haas ? John Isaacs: In his work, the British artist combines conceptual gestures with compositional possibilities, materials and forms of sculpture. Isaac?s work is often located between authentic monumentality and subtle gesticulation; some are brought together in a work in such a way that completely unanticipated form-resonances emerge. / Nicole Bianchet: Large-format wooden panels as well as works made out of paper and torn cardboard will be exhibited ? rationally focussed and obsessed, while also intuitive and emotional.

Galerie Max Hetzler ? Toby Ziegler: All paintings and sculptures in this exhibition, ?Borderine Something?, reference excerpts from Flemish and Spanish still lifes; enlarged, discolored, transformed by computer or by hand, they become studies through which the artist plays with the subject as well as with the ambivalence between abstraction and figuration.

Courtesy of Tate London

Courtesy of Tate London

Johnen Galerie ? Hans-Peter Feldmann: Presented as the focus in ?Kunstausstellung? are images and objects from different sources, mostly from 19th and early 20th century painting. Feldmann continues to draw on the history of image production in all its cultural broadness, from high-art to technical mass production, from children?s books to photographs and postcards. With often humorous interventions, he is able to present the artwork in a contemporary context.

Galerie Kamm ? Christoph Meier: Christoph Meier?s works often emerge as a reaction to something pre-existing, making use of its rational and reactive power, traversing it through several states, all the while underscoring the process with cynicism and dark humor. His sculptures are manipulated, sprayed or simply treated by hand, whereby their previous form, in contrast to the tradition of classical, ancient sculpture, shifts.

Klosterfelde ? Jorinde Voigt: The exhibition ?9 Times Philosophy? presents a new group of drawings based on various philosophical and literary texts. In her drawings, Voigt allows the viewers to participate in her personal process of appropration and her attempts at understanding the texts. The artist condenses what?s been read into notes and abstract surfaces, which become placeholders for her internal images.

© Jorinde Voigt

© Jorinde Voigt

Johann König ? Monica Bonvicini: In the showrooms on Dessauer Straße, Johann König presents the exhibition ?Disegni? by Monica Bonvicini, who is new to the gallery?s program. Using a variety of drawings, it offers an overview of Bonvicini?s work over the last decade. / Alicja Kwade: In the former church of St. Agnes ? before its conversion into a gallery ?Johann König will show Alicja Kwade?s light and sound installation, ?Nach Osten? based on the principle of Foucault?s pendulum.

KOW Berlin ? Michael E. Smith: With his sculptures, images and videos, the Detroit artist portrays the tortured American soul in the early years of the 21st century as an array of ruinous bodies: As a traumatic existence in a paralyzed system that surpresses and denies its vulnerability with violence.

Kraupa-Tuskany Zeidler ? Avery Singer: Figures and narratives in paint and text are the focus of Avery Singer?s work. Influenced by the formal terms of these media, she has explored the potential of culture industry subjects and images and has shaped these into new, idealized forms.

Tanya Leighton Gallery ? Aleksandra Domanovic: Her work is focused on the dissemination and reception of images and information, in particular those that effect a shift in meaning and changing entryways in which varying contexts and relationships are touched upon.

© Aleksandra Domanovic

© Aleksandra Domanovic

Meyer Riegger ? Eva Kotátková: The Czech artist focuses her drawings, collages, sculptures, installations and perfomances on the possible ways of perceiving the self. In her work, she attempts to materialize the feeling of mental restriction triggered by our external world through institutional regulations, educational processes and communication conventions.

Moeller Fine Art ? Lyonel Feininger + T. Lux Feininger: The two complementary exhibitions, ?Lyonel Feininger: Drawn from Nature, Carved in Wood? and ?T. Lux Feininger: Sixty Years of Painting? will show sketches, woodcuts, wood carvings and paintings from father and son, reflecting almost a century of artistic development.

Nature Morte Berlin ? AA Bronson & Michael Bühler-Rose: Referencing the tradition of hispanic ?Botanicas? ? religious and magical supply stores ? in America, both the artists AA Bronson and Michael Bühler-Rose play with the idea of the artist as a shaman/priest, the mystical transfiguration of artistic creation, ritual objects, magical supplies, and spiritual consumer behavior.

Galerie Neu ? Jana Euler: Jana Euler?s work will be presented in the gallery?s exhibition rooms. In her painting practice the artist focuses ? in a figurative as well as abstract way ? on the impact of different channels of communication on her social fabric. / Nick Mauss: In the MD72 space, Nick Mauss?s work will be on display, with a broad, mixed lot of varying media that, in their volume, autarchically bring the exhibition room into proportion, generating the simultanaeity of different modes.

Neugerriemschneider ? Isa Genzken: Genzken will show her extensive installation ?Ohne Titel (2007)? from Skulptur Projekte Münster 07. At the time, it was publically installed in front of the Überwasserkirche. /Billy Childish: In a temporary exhibition space on Münzstraße in Berlin-Mitte, there will be paintings from Billy Childish, outlining his complex universe of personal and literary references. / Michel Majerus: The Michael Majerus Estate has invited Charles Asprey to assemble a work presentation of the artist in the onetime atelier and present location of the artist?s estate on Knaackstraße in Berlin-Prenzlauer Berg.

Galerie Nordenhake ? Esko Männikkö & Pekka Turunen: Exhibited will be a photoessay by the two Finnish photographers with the title ?Pemoht?, produced between 1989 and 1995 as a testimony to post-Soviet living conditions. They document a bleak, destroyed landscape and severe pollution with serious damage to the ecosystem.

Peres Projects Berlin ? Alex Israel: In a work specially developed for the exhibition entitled ?Self-Portraits? Israel draws on a series of self portaits that he designed as a logo for his project ?As it LAys?, produced by Warner Brothers in glassfiber in different color variations. The artist, originally from Los Angeles, invariably refers to the Hollywood system in the production of his work, and here grapples with the entertainment industry in the city.

Galeria Plan B ? Ciprian Muresan: In this solo exhibition, the Romanian artist will show, among other things, a video work about the borders between harmony and chaos in overlapping acclaimed works, as well as a sculpture out of 50,000 stapled posters printed with the drawing of an empty plastic bag. An X-Ray of a painting by British artist Tom Chamberlain stands as a counterpart to the stapled posters. Reveals it.

Galerija Gregor Podnar ? Goran Petercol: Since 1975, Petercol has occupied himself with the study and and positioning of transcendental objects within processes that are derived from the conceptual art and analytical painting of the 1970s. At the same time, Petercol is working on the recontextualization of the interaction between the viewer and the artwork.

PSM ? Ariel Reichman: For Gallery Weekend Berlin, PSM will be opening its new exhibition space on Köpenicker Strasse. Beginning with an homage to Felix Gonzalez Torres, the Israeli artist Ariel Reichman will show his minimalistic solo presentation, ?Dear Felix, I am sorry but we are just too scared to fly?, which deals with the attention of the viewer.

Aurel Scheibler ? Curt Stenvert: ?Vorstoß ins Niemandsland? is a film by the Austrian filmaker, painter, sculptor and object artist Stenvert (1920 ? 1992). In Stenvert?s work ? along with the references to literature as a constant leitmotif ? there are also elements of past movements, in which personal beliefs reverberate and the concerns of Dada and Surrealism are integrated.

© Ugo Rondinone

© Ugo Rondinone

Esther Schipper ? Ugo Rondinone: In the exhibition, Rondinone takes on the concept of timelessness: On the the floor of the gallery, wooden floorboards are laid, the windows are whited over. On the floor there are 59 small horse sculptures that were first formed by hand in clay and then cast in bronze. Parallel, in the ?Studio Space?, there will be a solo presentation by Ceal Floyer with the extensive installation ?Untitled (Dotted Line)?.

Galerie Micky Schubert ? Daniel Sinsel

Galerie Thomas Schulte ? Alice Aycock: At the center of the American sculptor Alice Aycock?s exhibition is the sculpture ?Super Twister II?, belonging to a group of sculptural assemblages visualizaing the power of wind within her oeuvre. / Franka Hörnschemeyer: In the corner room the gallery there will be a site-specific kinetic installation by Franka Hörnschemeyer.

Sommer & Kohl ? Paul McDevitt: The title of the exhibition, ?A Life Without Shame?, refers to Adam Smith?s seminal text on global capitalism, originating in the Scottish town of Kirkcaldy. In the recent years ? hit hard by the recession ? McDevitt photographed there the showcases of vacant shops, among other things. These photographs are the basis for a new group of paintings on display at the exhibition. Also exhibited will be a second set of works consisting of the drawings from the ongoing series ?Notes to Self?.

Sprüth Magers Berlin ? George Condo: In addition to eight large-format paintings created in 2012, there will be five bronze sculptures from the same year in the George Condo exhibition. / Joseph Kosuth: From Joseph Kosuth, there will be a retrospective of neon works from 1960 to the present. / Richard Artschwager: Richard Artschwager?s exhibition will focus on a current series of portraits that will be shown next to the sculpture ?Exclamation Point (Orange)? from 2010.

Supportico Lopez ? Henri Chopin: The exhibition will show the manuscript ?La Crevette Amoureuse? (1967/1975) by the French avant garde poet Henri Chopin (1922-2008), unprinted until 1994 and only once shown in the group show ?Ecstatic Alphabet?, curated by Laura Hopman, at the MoMA in New York.

Galerie Barbara Thumm ? Anna K.E.: ?Two Whores in the Same Dress? is a multi-media installation at the center of which are two correlated sculptures presented simultaneously as space of interpretation and interactive podium. These objects, so typical for Anna K.E., are constructions defining the private, intimate spaces as well as public space, testifying to a yearning for intimacy. They point to the contrast between private and public actions.

Sassa Trülzsch ? Roswitha Hecke: The exhibition ?Irene? will show vintage prints by Roswitha Hecke from the time of the creation of the book by the same name. In 1978 the photobook was published for the first time under the title ?Liebes Leben?. It is the portrait of a Zurich artist muse and prostitute Irene. / Erik Steinbrecher: Following the recently concluded exhibition at the Kunstbibliothek Berlin, the Swiss conceptual artist has continued his ambulatory practice with new, hybrid sculptures. In two specific locations in the gallery, in the deserted stairwell and in the garden, male commentary will arise.

VW (Veneklasen/Werner) ? Peter Saul: ?Neptune and the Octopus Painter? features new large-scale works on canvas and a selection of recent works on paper, a body of work created during the past two years. Drawing as much on the imagery of Walt Disney as on traditions of classical painting, Saul’s recent works again look to genres of history and self-portraiture, dissecting to humorous, gruesome and deliberately offensive effect, a range of subjects and attitudes.

Galerie Barbara Weiss ? Ay?e Erkmen: At the center of the exhibition ?Wesenzug? there will be a yellow-white scuplture out of acrylic ? a remake of her first exploration of acrylic as a medium. In addition, more yellow and white acrylic works will be installed in the space. With the works, existing forms and uses of materials in architecture and design will be questioned on the value of usefulness and uselessness.

Wentrup ? Nevin Aladag (solo): The artist will show works in the media of sculpture, photography and film. Together the work is an inquiry into the social fabric of society and the interpretative view of the observer. / ?Traces of Life? (group show): This group exhibition shows various positions of international artists dealing with the visible and invisible traces of life. In the works, they reflect the partially fragile but also overwhelming key moments in the creative process.

Kunsthandel Wolfgang Werner ? Medardo Rosso & Gotthard Graubner: Twelve of the extremely rare sculptures of the Italian sculptor Medardo Rosso (1858?1928), celebrated by his contemporaries as the ?sculptor of light? will be placed in dialogue with drawings from the last 40 years by Gotthard Graubner.

Wien Lukatsch ? Hans-Peter Feldmann: In ?Bücher | Books?, the exuberant work of Hans-Peter Feldmann?s books will be extensively exhibited. From the ?Bilder?, grey booklets with printed stamps and offset print from photographs, to ?Zeitserien?, folders with original photographs pasted to card from the 70s and on to numerous books with pasted photographs and magazine projects.

Zak | Branicka ? VALIE EXPORT: The exhibition ?Bilder der Berührung? is concerned with the work of the artist finding expression in touch and implications of touch in various media including installation, drawing, photography, video and archived material. As a key figure in contemporary art since the seventies, VALIE EXPORT has played a deciding role in the development of performance art, feminism, and action art, as well as conceptual photography and film.

© Alex Israel

© Alex Israel

GALLERY WEEKEND BERLIN
26-28 April 2013

%d bloggers like this: