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Curated by Exhibitionary

Martha Rosler & Hito Steyerl
Martha Rosler & Hito Steyerl
Basel - St. Alban-Rheinweg 60
until 02-12-2018

Martha Rosler & Hito Steyerl – War Games The exhibition presents works by the artists Martha Rosler (Brooklyn, NY) and Hito Steyerl (Berlin) in a dialogue that brings intersections between their thematic interests and similarities in their uses of media into focus. It is the first exhibition at a Swiss museum for both artists and the first show anywhere in which their works appear side by side. Yet the two oeuvres have a great deal in common, growing out of an unusually tenacious commitment to critical engagement with social and political issues. Resonances between their works speak to the affinity between their stances and the concerns both share—concerns that are of global significance and suggest both artists’ probing critical attention to the political developments of our time. Reality, in their art, is always considered in its interplay with the audiovisual media that shape the fabric of today’s lifeworld and our identities, highlighting their disruptive impact on human lives. It is not surprising, then, that both Rosler and Steyerl have repeatedly turned to new media for their work. In addition to creating photography and collages, Rosler was an early pioneer of video art, which lets her broadcast feminist ideas and counter the myths peddled by television and magazines with alternative depictions of women and modern everyday life. Lately she has complemented photographs, photocollages, and action and project formats with a growing preoccupation with social media and drone technology. In part based on computer animations, Steyerl’s more recent video installations—whose aesthetic is strongly informed by the visuals disseminated through online platforms like YouTube—are among the most advanced work done by visual artists in this medium today. Both artists choose to involve themselves in contemporary controversies while also studying their historical backgrounds and the role played by media. Fascinating in their aesthetic construction, Rosler’s and Steyerl’s works are formulations of resistance to the normalization of democratic decline, the privatization of public spaces and domains of life and their subjection to economic pressures, violence and oppression at the hands of private actors as well as the authorities, the reduction of the human being to his value as a source of labor and consumer, and the militarization of spheres of social life. In light of the rising tide of illiberalism around the world, the exhibition thus also reaffirms the museum’s commitment to showing art that does not shy away from contention in asserting the need to foster democratic structures, civic values, and tolerance.  

Martha Rosler & Hito Steyerl – War Games The exhibition presents works by the artists Martha Rosler (Brooklyn, NY) and Hito Steyerl (Berlin) in a dialogue that brings intersections between their thematic interests and similarities in their uses of media into focus. It is the first exhibition at a Swiss museum for both artists and the first show anywhere in which their works appear side by side. Yet the two oeuvres have a great deal in common, growing out of an unusually tenacious commitment to critical engagement with social and political issues. Resonances between their works speak to the affinity between their stances and the concerns both share—concerns that are of global significance and suggest both artists’ probing critical attention to the political developments of our time. Reality, in their art, is always considered in its interplay with the audiovisual media that shape the fabric of today’s lifeworld and our identities, highlighting their disruptive impact on human lives. It is not surprising, then, that both Rosler and Steyerl have repeatedly turned to new media for their work. In addition to creating photography and collages, Rosler was an early pioneer of video art, which lets her broadcast feminist ideas and counter the myths peddled by television and magazines with alternative depictions of women and modern everyday life. Lately she has complemented photographs, photocollages, and action and project formats with a growing preoccupation with social media and drone technology. In part based on computer animations, Steyerl’s more recent video installations—whose aesthetic is strongly informed by the visuals disseminated through online platforms like YouTube—are among the most advanced work done by visual artists in this medium today. Both artists choose to involve themselves in contemporary controversies while also studying their historical backgrounds and the role played by media. Fascinating in their aesthetic construction, Rosler’s and Steyerl’s works are formulations of resistance to the normalization of democratic decline, the privatization of public spaces and domains of life and their subjection to economic pressures, violence and oppression at the hands of private actors as well as the authorities, the reduction of the human being to his value as a source of labor and consumer, and the militarization of spheres of social life. In light of the rising tide of illiberalism around the world, the exhibition thus also reaffirms the museum’s commitment to showing art that does not shy away from contention in asserting the need to foster democratic structures, civic values, and tolerance.  
Night Fever. Designing Club Culture 1960 – Today
Night Fever. Designing Club Culture 1960 ? Today
Basel - Charles-Eames-Strasse 2
until 09-09-2018

Night Fever. Designing Club Culture 1960 – Today »Night Fever« opens with the 1960s, exploring the emergence of nightclubs as spaces for experimentation with interior design, new media, and alternative lifestyles. The Electric Circus (1967) in New York, for example, was designed as a countercultural venue by architect Charles Forberg while graphic designers Chermayeff & Geismar created its distinctive logo and font. Its multidisciplinary approach influenced many clubs in Europe, including Space Electronic (1969) in Florence. Designed by the collective Gruppo 9999, this was one of several nightclubs associated with Italy’s Radical Design avant-garde. The same goes for Piper in Turin (1966), a club designed by Giorgio Ceretti, Pietro Derossi, and Riccardo Rosso as a multifunctional space with a modular interior suitable for concerts, happenings, and experimental theatre as well as dancing. Gruppo UFO’s Bamba Issa (1969), a beach club in Forte dei Marmi, was another highly histrionic venue, its themed interior completely overhauled for every summer of its three years of existence. With the rise of disco in the 1970s, club culture gained a new momentum. Dance music developed into a genre of its own and the dance floor emerged as a stage for individual and collective performance, with fashion designers such as Halston and Stephen Burrows providing the perfect outfits to perform and shine. New York’s Studio 54, founded by Ian Schrager and Steve Rubell in 1977 and designed by Scott Bromley and Ron Doud, soon became a celebrity favourite. Only two years later, the movie »Saturday Night Fever« marked the apex of Disco’s commercialisation, which in turn sparked a backlash with homophobic and racist overtones that peaked at the Disco Demolition Night staged at a baseball stadium in Chicago. Around the same time, places in New York’s thriving nightlife like the Mudd Club (1978) and Area (1983) offered artists new spaces to merge the club scene and the arts and launched the careers of artists like Keith Haring und Jean-Michel Basquiat. In early 1980s London, meanwhile, clubs like Blitz and Taboo brought forth the New Romantic music and fashion movement, with wild child Vivienne Westwood a frequent guest at Michael and Gerlinde Costiff’s »Kinky Gerlinky« clubnight. But it was in Manchester that architect and designer Ben Kelly created the post-industrial cathedral of rave, The Haçienda (1982), from where Acid House conquered the UK. House and Techno were arguably the last great dance music movements to define a generation of clubs and ravers. They reached Berlin in the early 1990s just after the fall of the wall, when disused and derelict spaces became available for clubs like Tresor (1991); more than a decade later, the notorious Berghain (2004) was established in a former heating plant, demonstrating yet again how a vibrant club scene can flourish in the cracks of the urban fabric, on empty lots and in vacant buildings. Developments have become ever more complex since the early 2000s. On the one hand, club culture is thriving and evolving as it is adopted by global brands and music festivals; on the other, many nightclubs have been pushed out of the city or survive merely as sad historical monuments and modern ruins of a hedonistic past. At the same time, a new generation of architects is addressing the nightclub typology. The architectural firm OMA, founded by Rem Koolhaas, has developed a proposal for a twenty-first-century Ministry of Sound II for London, while Detroit-based designers Akoaki have created a mobile DJ booth called »The Mothership« to promote their hometown’s rich club heritage.  Based on extensive research and featuring many exhibits never before displayed in a museum, »Night Fever« brings together a wide range of material, from furniture to graphic design, architectural models to art, film and photography to fashion. The exhibition takes visitors through a fascinating nocturnal world that provides a vital contrast to the rules and routines of our everyday life.  While the exhibition basically follows a chronological concept, a music and light installation created specially by exhibition designer Konstantin Grcic and lighting designer Matthias Singer offers visitors the opportunity to experience all the many facets of nightclub design, from visual effects to sounds and sensations. A display of record covers, ranging from Peter Saville’s designs for Factory Records to Grace Jones’s album cover »Nightclubbing«, underlines the significant relationship between music and design in club culture. The multidisciplinary exhibition reveals the nightclub as much more than a dance bar or a music venue; it is an immersive environment for intense experiences.   

Night Fever. Designing Club Culture 1960 – Today »Night Fever« opens with the 1960s, exploring the emergence of nightclubs as spaces for experimentation with interior design, new media, and alternative lifestyles. The Electric Circus (1967) in New York, for example, was designed as a countercultural venue by architect Charles Forberg while graphic designers Chermayeff & Geismar created its distinctive logo and font. Its multidisciplinary approach influenced many clubs in Europe, including Space Electronic (1969) in Florence. Designed by the collective Gruppo 9999, this was one of several nightclubs associated with Italy’s Radical Design avant-garde. The same goes for Piper in Turin (1966), a club designed by Giorgio Ceretti, Pietro Derossi, and Riccardo Rosso as a multifunctional space with a modular interior suitable for concerts, happenings, and experimental theatre as well as dancing. Gruppo UFO’s Bamba Issa (1969), a beach club in Forte dei Marmi, was another highly histrionic venue, its themed interior completely overhauled for every summer of its three years of existence. With the rise of disco in the 1970s, club culture gained a new momentum. Dance music developed into a genre of its own and the dance floor emerged as a stage for individual and collective performance, with fashion designers such as Halston and Stephen Burrows providing the perfect outfits to perform and shine. New York’s Studio 54, founded by Ian Schrager and Steve Rubell in 1977 and designed by Scott Bromley and Ron Doud, soon became a celebrity favourite. Only two years later, the movie »Saturday Night Fever« marked the apex of Disco’s commercialisation, which in turn sparked a backlash with homophobic and racist overtones that peaked at the Disco Demolition Night staged at a baseball stadium in Chicago. Around the same time, places in New York’s thriving nightlife like the Mudd Club (1978) and Area (1983) offered artists new spaces to merge the club scene and the arts and launched the careers of artists like Keith Haring und Jean-Michel Basquiat. In early 1980s London, meanwhile, clubs like Blitz and Taboo brought forth the New Romantic music and fashion movement, with wild child Vivienne Westwood a frequent guest at Michael and Gerlinde Costiff’s »Kinky Gerlinky« clubnight. But it was in Manchester that architect and designer Ben Kelly created the post-industrial cathedral of rave, The Haçienda (1982), from where Acid House conquered the UK. House and Techno were arguably the last great dance music movements to define a generation of clubs and ravers. They reached Berlin in the early 1990s just after the fall of the wall, when disused and derelict spaces became available for clubs like Tresor (1991); more than a decade later, the notorious Berghain (2004) was established in a former heating plant, demonstrating yet again how a vibrant club scene can flourish in the cracks of the urban fabric, on empty lots and in vacant buildings. Developments have become ever more complex since the early 2000s. On the one hand, club culture is thriving and evolving as it is adopted by global brands and music festivals; on the other, many nightclubs have been pushed out of the city or survive merely as sad historical monuments and modern ruins of a hedonistic past. At the same time, a new generation of architects is addressing the nightclub typology. The architectural firm OMA, founded by Rem Koolhaas, has developed a proposal for a twenty-first-century Ministry of Sound II for London, while Detroit-based designers Akoaki have created a mobile DJ booth called »The Mothership« to promote their hometown’s rich club heritage.  Based on extensive research and featuring many exhibits never before displayed in a museum, »Night Fever« brings together a wide range of material, from furniture to graphic design, architectural models to art, film and photography to fashion. The exhibition takes visitors through a fascinating nocturnal world that provides a vital contrast to the rules and routines of our everyday life.  While the exhibition basically follows a chronological concept, a music and light installation created specially by exhibition designer Konstantin Grcic and lighting designer Matthias Singer offers visitors the opportunity to experience all the many facets of nightclub design, from visual effects to sounds and sensations. A display of record covers, ranging from Peter Saville’s designs for Factory Records to Grace Jones’s album cover »Nightclubbing«, underlines the significant relationship between music and design in club culture. The multidisciplinary exhibition reveals the nightclub as much more than a dance bar or a music venue; it is an immersive environment for intense experiences.   
Sam Gilliam
Sam Gilliam
Basel - St. Alban-Graben 8
until 30-09-2018

Sam Gilliam – The Music of Colour Sam Gilliam (b. Tupelo, Mississippi, 1933) is one of America’s most prominent abstract painters. Works by the artist, who has lived and worked in Washington, D.C., since 1962, are held by numerous museums including the Art Institute of Chicago, the MoMA (New York), the National Gallery of Art, and the Whitney Museum of Art. The Music of Color is his first solo exhibition in Europe. The show puts the focus on the years between 1967 and 1973, the period of the greatest radicalism in Gilliam’s oeuvre. His Yves Klein Blue, which harks back to his experimental early work, was presented at the 57th Venice Biennale in 2017. In 1967, Gilliam began work on a series of what came to be known as beveled-edge paintings: he poured acrylic paint directly onto the unprimed canvas, which he folded and crumpled while the paint was still wet. He then stretched the canvas over a chamfered frame, lending the painting a spatial and object-like quality. Gilliam’s signature creative achievement is the drape paintings series, begun in 1968, for which he applied the same procedure as in the beveled-edge paintings but then released the canvas from the stretcher frame. Unlike easel paintings, which usually function independently of their context, the drape paintings evince a performative aspect and interact with their respective settings; they can be installed in a variety of ways depending on the spatial context. Gilliam strove to blur the widely accepted boundary between painting and sculpture even as prominent contemporaries such as Donald Judd sought to reaffirm it. The paintings he created between 1967 and 1973 stand out for their monumentality and forceful use of color. The canvas becomes a medium that records traces of the production process and exhibits its own physicality. At a time when painting seemed to be in decline, Gilliam breathed new life into it; jazz was an important source of inspiration for his expressive and energetic style. The Music of Color also probes the political and historical dimension of Gilliam’s oeuvre. While the artist himself rarely comments on political issues, the works in his Martin Luther King series and Jail Jungle reflect the 1968 race riots and the highly polarized debate over black art and abstract painting in 1960s and 1970s America. The Kunstmuseum Basel presents 45 outstanding works from public and private collections in Europe and the United States.  

Sam Gilliam – The Music of Colour Sam Gilliam (b. Tupelo, Mississippi, 1933) is one of America’s most prominent abstract painters. Works by the artist, who has lived and worked in Washington, D.C., since 1962, are held by numerous museums including the Art Institute of Chicago, the MoMA (New York), the National Gallery of Art, and the Whitney Museum of Art. The Music of Color is his first solo exhibition in Europe. The show puts the focus on the years between 1967 and 1973, the period of the greatest radicalism in Gilliam’s oeuvre. His Yves Klein Blue, which harks back to his experimental early work, was presented at the 57th Venice Biennale in 2017. In 1967, Gilliam began work on a series of what came to be known as beveled-edge paintings: he poured acrylic paint directly onto the unprimed canvas, which he folded and crumpled while the paint was still wet. He then stretched the canvas over a chamfered frame, lending the painting a spatial and object-like quality. Gilliam’s signature creative achievement is the drape paintings series, begun in 1968, for which he applied the same procedure as in the beveled-edge paintings but then released the canvas from the stretcher frame. Unlike easel paintings, which usually function independently of their context, the drape paintings evince a performative aspect and interact with their respective settings; they can be installed in a variety of ways depending on the spatial context. Gilliam strove to blur the widely accepted boundary between painting and sculpture even as prominent contemporaries such as Donald Judd sought to reaffirm it. The paintings he created between 1967 and 1973 stand out for their monumentality and forceful use of color. The canvas becomes a medium that records traces of the production process and exhibits its own physicality. At a time when painting seemed to be in decline, Gilliam breathed new life into it; jazz was an important source of inspiration for his expressive and energetic style. The Music of Color also probes the political and historical dimension of Gilliam’s oeuvre. While the artist himself rarely comments on political issues, the works in his Martin Luther King series and Jail Jungle reflect the 1968 race riots and the highly polarized debate over black art and abstract painting in 1960s and 1970s America. The Kunstmuseum Basel presents 45 outstanding works from public and private collections in Europe and the United States.  
Bacon – Giacometti
Bacon ? Giacometti
Basel - Baselstrasse 101
until 02-09-2018

Bacon – Giacometti From April 29, 2018, the Fondation Beyeler is staging an exhibition devoted to Alberto Giacometti and Francis Bacon: two outstanding protagonists of modern art who were at once friends and rivals, and whose creative vision exerted a powerful influence that still persists today. This is the first-ever joint museum exhibition involving Giacometti and Bacon, illuminating the relationship between the two artistic personalities. Different as their art may at first appear, the dual presentation of their work reveals many striking similarities. The exhibition brings together well-known key works by both artists with other works that are rarely shown—including, in particular, a series of original plaster figures from Giacometti’s estate that have never been publicly displayed before, and four triptychs by Bacon. A multimedia room offers spectacular insights into the artists’ studios. The exhibition has been organized by the Fondation Beyeler in cooperation with the Fondation Giacometti, Paris. The British painter Bacon and the Swiss sculptor Giacometti were introduced to one another in the early 1960s by a mutual friend, the painter Isabel Rawsthorne. By 1965, their friendship had grown close enough for Bacon to visit Giacometti at the Tate Gallery in London, where he was setting up a retrospective. This meeting is documented in a series of pictures taken by the English photographer Graham Keen, showing the two artists engaged in animated conversation. Over fifty years later, they meet again at the Fondation Beyeler, where their dual portrait, in the photograph by Graham Keen, stands at the start of the present exhibition. The encounter reveals astonishing similarities The exhibition’s curators—Catherine Grenier, director of the Fondation Giacometti in Paris, Michael Peppiatt, Bacon expert and a personal friend of the artist, and Ulf Küster, curator at the Fondation Beyeler—make astonishing parallels visible in this presentation of some 100 works. Bacon and Giacometti were united by an unwavering belief in the importance of the human figure. They were intensely concerned with the role of tradition and the Old Masters, whom they studied, copied and paraphrased. Both of them engaged with the problem of the two- and three-dimensional representation of space, integrating cage-like structures into their works as a means of isolating figures in their surroundings. Both occupied themselves with the fragmented and deformed body, and shared an obsession with portraiture and the depiction of human individuality. Both claimed to be “realists”, taking the human figure as their main point of reference, yet exploring—each in his own way—new extremes of abstraction, and thereby challenging the antithesis of figuration and abstraction that played such a central part in the history of modern art. The exhibition is thematically organized, grouping works by Giacometti and Bacon in a succession of nine rooms. Differences and similarities are highlighted, paying attention to particular features, such as Bacon’s often vivid colors, and the varieties of gray that characterize the work of Giacometti. The itinerary begins with portraits of the painter Isabel Rawsthorne, who was a close friend of Giacometti and Bacon and for a time was the former’s lover. She posed for both artists and also served as their muse. They stylized her in different ways: Giacometti depicted her from a distance (in the literal and figurative sense), while Bacon painted her as a femme fatale recalling the Furies of Greek tragedy.  Giacometti and Bacon were concerned, throughout their lives, with the depiction of figures in space, through the three-dimensionality of sculpture and the two-dimensional medium of painting. The next room is devoted to this aspect of their work. Giacometti created a series of sculptures incorporating rectangular frames, including La Cage (1950), which is exhibited here in the plaster and bronze versions. Two further structures of this kind by Giacometti are also on show: the legendary Surrealist sculpture Boule suspendue (1930), simply constructed but charged with an erotic energy that fired the imagination of generations of art-lovers, and the plaster original of Le Nez (1947-49), consisting of a caged head, suspended by a wire, with a petrified scream and an exaggeratedly long nose that will inevitably remind most viewers of the children’s book character Pinocchio. Bacon, on the other hand, often placed his painted figures in illusionist spatial constructions whose function, he explained, was to focus attention on the image. This, as Louise Bourgeois remarked, gives his pictures an “extremely sculptural” appearance. An especially notable work in this room is Figure in Movement (1972), a rarely exhibited painting from a private collection. The “cage” surrounding the anthropomorphic, indefinable figure in the center lends it an exceptionally dynamic, sculptural character. The space frames in which many of Bacon’s figures are set have a symbolic significance, conveying a sense of repression and coercion that finds release in the scream. This is the theme addressed in the next room. Referring to two historical models, Bacon tirelessly explored the possible means of expression for psychological and physical pain. He was inspired on the one hand by Velázquez’s Portrait of Pope Innocent X (1650), which to him was an iconic evocation of oppression and the abuse of power; and on the other, he frequently paraphrased the famous image of the screaming nursemaid, hit in the eye by a bullet, from Sergei Eisenstein‘s film Battleship Potemkin (1925). Bacon often combined these two models, as in Study for Portrait VII (1953) from the Museum of Modern Art, New York, and Figure with Meat (1954) from the Art Institute of Chicago. Bacon’s paintings are contrasted here with a selection of painted and sculpted portraits from the later phase of Giacometti’s oeuvre. The expressiveness and compulsive extroversion of Bacon’s pictures cast an immediate spell on the viewer, yet the restraint that typifies the art of Giacometti is no less hypnotic in its effect: his figures also embody a situation of coercion, bearing the apparent marks of the pain inflicted on the artist’s models by forcing them to sit still for hours at a stretch. Giacometti himself was also under extreme duress, cursing his own supposed lack of skill and incessantly reworking the portraits to a point of uncompromising reduction and concentration—as can be seen in Annette assise dans l’atelier (c. 1960), a loan from the Fondation Giacometti, Paris. Giacometti’s prolonged failure was in a way programmatic. Without the constant sense of failure, he might have lacked the impetus to continue. Work, for him, apparently involved an element of self-punishment, as if he were seeking atonement for the fact of his artistic existence. This would also seem to be true of Bacon, although the aggression in his art appears to be directed outward. The genre that most impressively embodies the obsessions of the two artists, in their struggle to embody their personal concept of realism, is the portrait. In the next room, a number of sculptures by Giacometti, chiefly in plaster, are confronted with small-format portraits by Bacon. The latter include four small triptychs, whose form, deriving from medieval altarpieces, allowed Bacon to show more facets of his models, in various states of distortion. One of Giacometti’s best-known late works is also to be seen here: the plaster version of Grande tête mince (1954), which is essentially a portrait of the artist’s brother, Diego. The sculpture is at once flat and voluminous, playing with two- and three-dimensionality and thus with the principles of painting and sculpture. A highlight among the Bacon pictures in this room is Self-Portrait (1987), from a private collection and rarely exhibited, which has a strange air of detachment. The next room begins with a group of standing female figures by Giacometti, belonging mainly to the Femmes de Venise, created for the 1956 Venice Biennale. The figures are like centers of force, with an extreme degree of concentration and condensation: the rough, fragmentary surfaces defy ready understanding, conveying an ambivalent impression of dynamic tranquility. This also applies, to a still greater extent, to the figures devised by Giacometti in the early 1960s for the Chase Manhattan Plaza in New York, a project that never came to fruition. The most important work by Giacometti here is the plaster version of the iconic Homme qui marche II, from 1960, which is exhibited with the bronze cast from the Beyeler Collection. The striking exhibits in this room also include a selection of impressive triptychs by Bacons, together with some of his large-format single canvases. Like Giacometti, Bacon sought to explode the traditional confines of the picture, with the aim of representing energy and conveying to the viewer an impression of movement, although the work is inherently static. Among these painted studies of movement, the triptych Three Studies of Figures on Beds (1972), from the Esther Grether Family Collection, particularly stands out. Here, Bacon uses the stylistic device of the arrow, indicating the direction of movement of the writhing bodies in the three panels. The thematic focus in the exhibition’s penultimate room is on the interplay of intensity, passion and aggression in the work of both artists. The deep scars left by Giacometti’s attacks with the modeling knife on his plaster busts indicate a high level of aggression, directed possibly against the model but certainly against his own work and therefore against the artist himself. This is apparent, for example, in Buste d’Annette IV (1962). Looking at Bacon’s pictures, a similar impression emerges: bodies and faces are distorted and mutilated with startling brutality. In the work of both artists, established aesthetic categories are overturned, to an astonishing degree. What Bacon and Giacometti reveal here is the nocturnal side of human existence. The multimedia room offers spectacular insights into the artists’ studios Their small and sparse studios were very special places for Bacon and Giacometti: chaotic spaces from which great art emerged. The multimedia installation in the final room, devised specially for the exhibition in Basel, offers a fascinating insight into this personal cosmos. The studios of both artists have been reconstructed from historic photographs. Two full-scale projections by Christian Borstlap, head of the Amsterdam design studio Part of a Bigger Plan, enables the viewer to witness, as if at first hand, the unfolding of creativity across the walls and floors of these very private spaces—Bacon refused to admit visitors to his studio. The projections are overlaid with the voices of Bacon and Giacometti, speaking about their work and their studios. The audiovisual reconstruction provides a direct insight into the artists’ working methods, opening up a further, fascinating dimension of their work. The BNP Paribas Swiss Foundation, as the partner of the Fondation Beyeler for multimedia mediation, has generously supported this aspect of the exhibition. Previously unexhibited plaster works from Giacometti’s estate Giacometti’s famous bronze sculptures were often preceded by a version in plaster. This in itself is unexceptional: the making of a plaster cast is part of the normal process of developing a sculpture. However, Giacometti’s plaster casts are unusual in that the artist continued to work on them after they were made, instead of merely using them as a model for the subsequent bronze casting. The plaster versions therefore have the status of art works in their own right, showing traces of the artist’s hand in the abrasions, scratched lines and notches in the surface and the touches of paint applied with delicate brushstrokes. Some of these works—for example, Petit Buste d’Annette (1946)—are so fragile that they have never been displayed in public before. The exhibition at the Fondation Beyeler includes twenty-three of Giacometti’s plaster casts, including the plaster version, in its original state, of Homme qui marche II (1960), which is shown here in conjunction with the bronze sculpture owned by the Beyeler Collection. For the first time in several decades, the plaster cast and the bronze version of this iconic work can be seen and admired together. Four major Bacon triptychs In addition to In Memory of George Dyer (1971), from the Beyeler Collection, the exhibition includes three further large-format triptychs by Bacon—a key later work, Triptych Inspired by The Oresteia of Aeschylus (1981), which documents Bacon’s interest in Greek mythology, together with Triptych (1967) from the Hirshhorn Museum in Washington, and Three Studies of Figures on Bed (1972), a rarely exhibited work from the Esther Grether Family Collection. These three loaned works help to sharpen the eye for the unique qualities of Bacon’s oeuvre. Ernst Beyeler was a friend of both artists Bacon and Giacometti had close contacts with a circle of contemporary intellectuals, including the French author and anthropologist Michel Leiris, the British art critic and curator David Sylvester, and the French poet and writer Jacques Dupin. Ernst Beyeler also met the two artists frequently, and commented on their friendly manner and personal charm. Moreover, he contributed very significantly to the dissemination of their work. He played a key role in establishing the Alberto Giacometti Foundation in Zurich, and held two exhibitions of works by Giacometti at his gallery, which managed the sale of around 350 works by the Swiss artist. Beyeler also devoted two solo exhibitions to Bacon, and some fifty works by the latter, including several triptychs, passed through his hands. In addition, Bacon and Giacometti featured in a total of, respectively, eight and 38 group exhibitions at the Beyeler gallery. It is unsurprising, therefore, that works by both artists—including Giacometti’s complete group of figures for the Chase Manhattan Plaza, with the famous Homme qui marche II (1960), and the triptych In Memory of George Dyer (1971), Bacon’s poignant tribute to his dead lover—now occupy a central place in the Beyeler Collection. In a letter to Ernst Beyeler, Bacon remarked that he considered the painting Lying Figure (1969), also in the Beyeler Collection, to be one of his best works.   

Bacon – Giacometti From April 29, 2018, the Fondation Beyeler is staging an exhibition devoted to Alberto Giacometti and Francis Bacon: two outstanding protagonists of modern art who were at once friends and rivals, and whose creative vision exerted a powerful influence that still persists today. This is the first-ever joint museum exhibition involving Giacometti and Bacon, illuminating the relationship between the two artistic personalities. Different as their art may at first appear, the dual presentation of their work reveals many striking similarities. The exhibition brings together well-known key works by both artists with other works that are rarely shown—including, in particular, a series of original plaster figures from Giacometti’s estate that have never been publicly displayed before, and four triptychs by Bacon. A multimedia room offers spectacular insights into the artists’ studios. The exhibition has been organized by the Fondation Beyeler in cooperation with the Fondation Giacometti, Paris. The British painter Bacon and the Swiss sculptor Giacometti were introduced to one another in the early 1960s by a mutual friend, the painter Isabel Rawsthorne. By 1965, their friendship had grown close enough for Bacon to visit Giacometti at the Tate Gallery in London, where he was setting up a retrospective. This meeting is documented in a series of pictures taken by the English photographer Graham Keen, showing the two artists engaged in animated conversation. Over fifty years later, they meet again at the Fondation Beyeler, where their dual portrait, in the photograph by Graham Keen, stands at the start of the present exhibition. The encounter reveals astonishing similarities The exhibition’s curators—Catherine Grenier, director of the Fondation Giacometti in Paris, Michael Peppiatt, Bacon expert and a personal friend of the artist, and Ulf Küster, curator at the Fondation Beyeler—make astonishing parallels visible in this presentation of some 100 works. Bacon and Giacometti were united by an unwavering belief in the importance of the human figure. They were intensely concerned with the role of tradition and the Old Masters, whom they studied, copied and paraphrased. Both of them engaged with the problem of the two- and three-dimensional representation of space, integrating cage-like structures into their works as a means of isolating figures in their surroundings. Both occupied themselves with the fragmented and deformed body, and shared an obsession with portraiture and the depiction of human individuality. Both claimed to be “realists”, taking the human figure as their main point of reference, yet exploring—each in his own way—new extremes of abstraction, and thereby challenging the antithesis of figuration and abstraction that played such a central part in the history of modern art. The exhibition is thematically organized, grouping works by Giacometti and Bacon in a succession of nine rooms. Differences and similarities are highlighted, paying attention to particular features, such as Bacon’s often vivid colors, and the varieties of gray that characterize the work of Giacometti. The itinerary begins with portraits of the painter Isabel Rawsthorne, who was a close friend of Giacometti and Bacon and for a time was the former’s lover. She posed for both artists and also served as their muse. They stylized her in different ways: Giacometti depicted her from a distance (in the literal and figurative sense), while Bacon painted her as a femme fatale recalling the Furies of Greek tragedy.  Giacometti and Bacon were concerned, throughout their lives, with the depiction of figures in space, through the three-dimensionality of sculpture and the two-dimensional medium of painting. The next room is devoted to this aspect of their work. Giacometti created a series of sculptures incorporating rectangular frames, including La Cage (1950), which is exhibited here in the plaster and bronze versions. Two further structures of this kind by Giacometti are also on show: the legendary Surrealist sculpture Boule suspendue (1930), simply constructed but charged with an erotic energy that fired the imagination of generations of art-lovers, and the plaster original of Le Nez (1947-49), consisting of a caged head, suspended by a wire, with a petrified scream and an exaggeratedly long nose that will inevitably remind most viewers of the children’s book character Pinocchio. Bacon, on the other hand, often placed his painted figures in illusionist spatial constructions whose function, he explained, was to focus attention on the image. This, as Louise Bourgeois remarked, gives his pictures an “extremely sculptural” appearance. An especially notable work in this room is Figure in Movement (1972), a rarely exhibited painting from a private collection. The “cage” surrounding the anthropomorphic, indefinable figure in the center lends it an exceptionally dynamic, sculptural character. The space frames in which many of Bacon’s figures are set have a symbolic significance, conveying a sense of repression and coercion that finds release in the scream. This is the theme addressed in the next room. Referring to two historical models, Bacon tirelessly explored the possible means of expression for psychological and physical pain. He was inspired on the one hand by Velázquez’s Portrait of Pope Innocent X (1650), which to him was an iconic evocation of oppression and the abuse of power; and on the other, he frequently paraphrased the famous image of the screaming nursemaid, hit in the eye by a bullet, from Sergei Eisenstein‘s film Battleship Potemkin (1925). Bacon often combined these two models, as in Study for Portrait VII (1953) from the Museum of Modern Art, New York, and Figure with Meat (1954) from the Art Institute of Chicago. Bacon’s paintings are contrasted here with a selection of painted and sculpted portraits from the later phase of Giacometti’s oeuvre. The expressiveness and compulsive extroversion of Bacon’s pictures cast an immediate spell on the viewer, yet the restraint that typifies the art of Giacometti is no less hypnotic in its effect: his figures also embody a situation of coercion, bearing the apparent marks of the pain inflicted on the artist’s models by forcing them to sit still for hours at a stretch. Giacometti himself was also under extreme duress, cursing his own supposed lack of skill and incessantly reworking the portraits to a point of uncompromising reduction and concentration—as can be seen in Annette assise dans l’atelier (c. 1960), a loan from the Fondation Giacometti, Paris. Giacometti’s prolonged failure was in a way programmatic. Without the constant sense of failure, he might have lacked the impetus to continue. Work, for him, apparently involved an element of self-punishment, as if he were seeking atonement for the fact of his artistic existence. This would also seem to be true of Bacon, although the aggression in his art appears to be directed outward. The genre that most impressively embodies the obsessions of the two artists, in their struggle to embody their personal concept of realism, is the portrait. In the next room, a number of sculptures by Giacometti, chiefly in plaster, are confronted with small-format portraits by Bacon. The latter include four small triptychs, whose form, deriving from medieval altarpieces, allowed Bacon to show more facets of his models, in various states of distortion. One of Giacometti’s best-known late works is also to be seen here: the plaster version of Grande tête mince (1954), which is essentially a portrait of the artist’s brother, Diego. The sculpture is at once flat and voluminous, playing with two- and three-dimensionality and thus with the principles of painting and sculpture. A highlight among the Bacon pictures in this room is Self-Portrait (1987), from a private collection and rarely exhibited, which has a strange air of detachment. The next room begins with a group of standing female figures by Giacometti, belonging mainly to the Femmes de Venise, created for the 1956 Venice Biennale. The figures are like centers of force, with an extreme degree of concentration and condensation: the rough, fragmentary surfaces defy ready understanding, conveying an ambivalent impression of dynamic tranquility. This also applies, to a still greater extent, to the figures devised by Giacometti in the early 1960s for the Chase Manhattan Plaza in New York, a project that never came to fruition. The most important work by Giacometti here is the plaster version of the iconic Homme qui marche II, from 1960, which is exhibited with the bronze cast from the Beyeler Collection. The striking exhibits in this room also include a selection of impressive triptychs by Bacons, together with some of his large-format single canvases. Like Giacometti, Bacon sought to explode the traditional confines of the picture, with the aim of representing energy and conveying to the viewer an impression of movement, although the work is inherently static. Among these painted studies of movement, the triptych Three Studies of Figures on Beds (1972), from the Esther Grether Family Collection, particularly stands out. Here, Bacon uses the stylistic device of the arrow, indicating the direction of movement of the writhing bodies in the three panels. The thematic focus in the exhibition’s penultimate room is on the interplay of intensity, passion and aggression in the work of both artists. The deep scars left by Giacometti’s attacks with the modeling knife on his plaster busts indicate a high level of aggression, directed possibly against the model but certainly against his own work and therefore against the artist himself. This is apparent, for example, in Buste d’Annette IV (1962). Looking at Bacon’s pictures, a similar impression emerges: bodies and faces are distorted and mutilated with startling brutality. In the work of both artists, established aesthetic categories are overturned, to an astonishing degree. What Bacon and Giacometti reveal here is the nocturnal side of human existence. The multimedia room offers spectacular insights into the artists’ studios Their small and sparse studios were very special places for Bacon and Giacometti: chaotic spaces from which great art emerged. The multimedia installation in the final room, devised specially for the exhibition in Basel, offers a fascinating insight into this personal cosmos. The studios of both artists have been reconstructed from historic photographs. Two full-scale projections by Christian Borstlap, head of the Amsterdam design studio Part of a Bigger Plan, enables the viewer to witness, as if at first hand, the unfolding of creativity across the walls and floors of these very private spaces—Bacon refused to admit visitors to his studio. The projections are overlaid with the voices of Bacon and Giacometti, speaking about their work and their studios. The audiovisual reconstruction provides a direct insight into the artists’ working methods, opening up a further, fascinating dimension of their work. The BNP Paribas Swiss Foundation, as the partner of the Fondation Beyeler for multimedia mediation, has generously supported this aspect of the exhibition. Previously unexhibited plaster works from Giacometti’s estate Giacometti’s famous bronze sculptures were often preceded by a version in plaster. This in itself is unexceptional: the making of a plaster cast is part of the normal process of developing a sculpture. However, Giacometti’s plaster casts are unusual in that the artist continued to work on them after they were made, instead of merely using them as a model for the subsequent bronze casting. The plaster versions therefore have the status of art works in their own right, showing traces of the artist’s hand in the abrasions, scratched lines and notches in the surface and the touches of paint applied with delicate brushstrokes. Some of these works—for example, Petit Buste d’Annette (1946)—are so fragile that they have never been displayed in public before. The exhibition at the Fondation Beyeler includes twenty-three of Giacometti’s plaster casts, including the plaster version, in its original state, of Homme qui marche II (1960), which is shown here in conjunction with the bronze sculpture owned by the Beyeler Collection. For the first time in several decades, the plaster cast and the bronze version of this iconic work can be seen and admired together. Four major Bacon triptychs In addition to In Memory of George Dyer (1971), from the Beyeler Collection, the exhibition includes three further large-format triptychs by Bacon—a key later work, Triptych Inspired by The Oresteia of Aeschylus (1981), which documents Bacon’s interest in Greek mythology, together with Triptych (1967) from the Hirshhorn Museum in Washington, and Three Studies of Figures on Bed (1972), a rarely exhibited work from the Esther Grether Family Collection. These three loaned works help to sharpen the eye for the unique qualities of Bacon’s oeuvre. Ernst Beyeler was a friend of both artists Bacon and Giacometti had close contacts with a circle of contemporary intellectuals, including the French author and anthropologist Michel Leiris, the British art critic and curator David Sylvester, and the French poet and writer Jacques Dupin. Ernst Beyeler also met the two artists frequently, and commented on their friendly manner and personal charm. Moreover, he contributed very significantly to the dissemination of their work. He played a key role in establishing the Alberto Giacometti Foundation in Zurich, and held two exhibitions of works by Giacometti at his gallery, which managed the sale of around 350 works by the Swiss artist. Beyeler also devoted two solo exhibitions to Bacon, and some fifty works by the latter, including several triptychs, passed through his hands. In addition, Bacon and Giacometti featured in a total of, respectively, eight and 38 group exhibitions at the Beyeler gallery. It is unsurprising, therefore, that works by both artists—including Giacometti’s complete group of figures for the Chase Manhattan Plaza, with the famous Homme qui marche II (1960), and the triptych In Memory of George Dyer (1971), Bacon’s poignant tribute to his dead lover—now occupy a central place in the Beyeler Collection. In a letter to Ernst Beyeler, Bacon remarked that he considered the painting Lying Figure (1969), also in the Beyeler Collection, to be one of his best works.   
Hello World. Revising a Collection
Hello World. Revising a Collection
Berlin - Invalidenstrasse 50/51
until 26-08-2018

Hello World. Revising a Collection Hello World. Revising a Collection is a critical inquiry into the predominantly Western focus of the collection of the Nationalgalerie: what would the collection look like today, had a more open and inclusive understanding of art characterised its genesis? How might the art historical canon and the historical narratives themselves have been transformed, thereby widening and multiplying perspectives? Taking these questions as its starting point, the exhibition unfolds in 13 thematic chapters and builds a pluri-vocal collaboration between internal and external curators. Hello World encompasses the entire exhibition space of the Hamburger Bahnhof – Museum für Gegenwart – Berlin, the Nationalgalerie’s site for contemporary art. Hello World places the focus on transnational artistic networks and cross-cultural exchanges from the late 19th century to the present. Numerous works from the collection of the Nationalgalerie provide points of departure for multiple narratives. These stories include Heinrich Vogeler’s path to the Soviet Union, Dadaist Tomoyoshi Murayama’s sojourn in Berlin in the 1920s, and the collaborations between Nicolás García Uriburu and Joseph Beuys. More than two hundred works—paintings, sculptures, installations, videos and films—from the holdings of the Nationalgalerie are comple­mented by approximately one hundred and fifty works on loan from other collections of the Staatliche Museen zu Berlin and the Stiftung Preussischer Kulturbesitz: Ethnologisches Museum, Kunstbibliothek, Kupferstichkabinett, Museum für Asiatische Kunst and the Zentralarchiv as well as the Ibero-Amerikanisches Institut and the Staatsbibliothek zu Berlin. In addition, 400 artworks, magazines and documents are presented in the exhibition from national and international collections. In total, the show features artworks by more than 250 artists. Today, the Nationalgalerie of the Staatliche Museen zu Berlin encompasses five museums: Alte National­galerie, Neue Nationalgalerie, Museum Berggruen, Sammlung Scharf-Gerstenberg and Hamburger Bahnhof – Museum für Gegenwart – Berlin. Its extensive holdings date from the late 18th century to the present and reflect the turbulence and highpoints of this period. Founded in 1861, several artworks in the collection were classified as “degenerate” by the Nazis, a verdict which inevitably led to their removal or destruction. Germany’s division after World War II also left its traces: while the Nationalgalerie in the west of Berlin shifted its attention to Western European and North American art, the Nationalgalerie in the eastern part of the city concentrated on German art. Hello World is the first exhibition to explicitly call into question the Eurocentric character of the Nationalgalerie’s collections, opening up a discussion on how a museum collection can reposition itself today.  

Hello World. Revising a Collection Hello World. Revising a Collection is a critical inquiry into the predominantly Western focus of the collection of the Nationalgalerie: what would the collection look like today, had a more open and inclusive understanding of art characterised its genesis? How might the art historical canon and the historical narratives themselves have been transformed, thereby widening and multiplying perspectives? Taking these questions as its starting point, the exhibition unfolds in 13 thematic chapters and builds a pluri-vocal collaboration between internal and external curators. Hello World encompasses the entire exhibition space of the Hamburger Bahnhof – Museum für Gegenwart – Berlin, the Nationalgalerie’s site for contemporary art. Hello World places the focus on transnational artistic networks and cross-cultural exchanges from the late 19th century to the present. Numerous works from the collection of the Nationalgalerie provide points of departure for multiple narratives. These stories include Heinrich Vogeler’s path to the Soviet Union, Dadaist Tomoyoshi Murayama’s sojourn in Berlin in the 1920s, and the collaborations between Nicolás García Uriburu and Joseph Beuys. More than two hundred works—paintings, sculptures, installations, videos and films—from the holdings of the Nationalgalerie are comple­mented by approximately one hundred and fifty works on loan from other collections of the Staatliche Museen zu Berlin and the Stiftung Preussischer Kulturbesitz: Ethnologisches Museum, Kunstbibliothek, Kupferstichkabinett, Museum für Asiatische Kunst and the Zentralarchiv as well as the Ibero-Amerikanisches Institut and the Staatsbibliothek zu Berlin. In addition, 400 artworks, magazines and documents are presented in the exhibition from national and international collections. In total, the show features artworks by more than 250 artists. Today, the Nationalgalerie of the Staatliche Museen zu Berlin encompasses five museums: Alte National­galerie, Neue Nationalgalerie, Museum Berggruen, Sammlung Scharf-Gerstenberg and Hamburger Bahnhof – Museum für Gegenwart – Berlin. Its extensive holdings date from the late 18th century to the present and reflect the turbulence and highpoints of this period. Founded in 1861, several artworks in the collection were classified as “degenerate” by the Nazis, a verdict which inevitably led to their removal or destruction. Germany’s division after World War II also left its traces: while the Nationalgalerie in the west of Berlin shifted its attention to Western European and North American art, the Nationalgalerie in the eastern part of the city concentrated on German art. Hello World is the first exhibition to explicitly call into question the Eurocentric character of the Nationalgalerie’s collections, opening up a discussion on how a museum collection can reposition itself today.  
James Turrell
James Turrell
Berlin - Lindenstrasse 9?14
until 30-09-2018

James Turrell – Ganzfeld "Aural" In a temporary structure in the museum garden, we are presenting the immersive installation Ganzfeld “Aural” by the artist James Turrell. “Aural” is the Berlin premiere of a Ganzfeld by the world’s foremost light sculptor. The installation is part of the Ganzfeld Pieces series, in which Turrell creates liminal zones of experience. Upon entering the Ganzfeld “Aural” installation, visitors are immersed in a space that reveals neither its light source nor its dimensions. Their eyes lose their frame of reference; their gaze is unleashed. Light, color, and space melt together. The installation’s gradual color shifts are punctuated by flashes of light. James Turell demands time from his visitors. Our eyes must first adjust before the light’s effect fully unfolds. Suddenly, we perceive the slightest stimuli and changes. This leads to dreamlike experiences reminiscent of thick fog, expanses of snow, or the dark of night.

James Turrell – Ganzfeld "Aural" In a temporary structure in the museum garden, we are presenting the immersive installation Ganzfeld “Aural” by the artist James Turrell. “Aural” is the Berlin premiere of a Ganzfeld by the world’s foremost light sculptor. The installation is part of the Ganzfeld Pieces series, in which Turrell creates liminal zones of experience. Upon entering the Ganzfeld “Aural” installation, visitors are immersed in a space that reveals neither its light source nor its dimensions. Their eyes lose their frame of reference; their gaze is unleashed. Light, color, and space melt together. The installation’s gradual color shifts are punctuated by flashes of light. James Turell demands time from his visitors. Our eyes must first adjust before the light’s effect fully unfolds. Suddenly, we perceive the slightest stimuli and changes. This leads to dreamlike experiences reminiscent of thick fog, expanses of snow, or the dark of night.
Carsten Nicolai
Carsten Nicolai
Berlin - Alte Jakobstrasse 124?128
until 03-09-2018

Carsten Nicolai – tele Works by Carsten Nicolai (*1965 in Karl-Marx-Stadt, now Chemnitz) oscillate around the interfaces between art and science. He often explores sensory impressions and their (media-based) translation, with transmitters and receivers, classification systems and their breakpoints. Nicolai investigates intangible phenomena that give rise to fundamental questions about human consciousness—such as how much of what we perceive exists beyond our perceptions and to what extent it is constructed by the neural networks in our brains. Inspired by themes usually associated with neurobiology and other natural sciences, which relate to the study of micro- and macrosystems, his objects and installations result from a process of distillation and reduction. He created the light installation tele for the first exhibition space in the Berlinische Galerie. It alludes to a peculiar property of quantum entanglement. The phenomenon whereby two quantum systems that are widely separate in space share the same condition was described by Albert Einstein as “spukhafte Fernwirkung”: the two particles are so interconnected that any change in one has a direct, instantaneous effect on the state of the other, as if there were some telepathic link between them. The two mirror sculptures nearly three metres high, which resemble an Archimedean solid split in two, appear to communicate in equally eerie ways: laser beams flow back and forth between them, and as they hit the photocells they trigger new impulses which constantly replenish the beams. Nicolai builds here on a long-standing interest in self-perpetuating systems which, once they have been designed and set in motion, function without the need for any further intervention by the artist. Although light is immaterial, these laser beams dominate and define the exhibition space. Because electromagnetic waves spread at the speed of light, they are perceived by the human eye as continuous, straight rays, and this lends them a sculptural quality. The mirrors make it look as though the rays carry on into infinity, hinting at another universe, an autonomous system created by the artist. Our ability to see the laser beams varies according to where we stand. Besides, changing perspectives on the sculpted mirrors generate a plethora of images. Nicolai’s intervention tele makes us think about how we perceive: “You have to first perceive percipience in order to speak of perception at all.” (Heinz von Foerster, 1989) Carsten Nicolai has been accustomed to interdisciplinary working and thinking ever since he studied landscape architecture in Dresden. His course combined specialist knowledge from ecology, mathematics, biology, forest management, communication theory, and town and country planning. He grew up and acquired his early views of art in Chemnitz. The creative atmosphere in the city, where there was no art college or musical conservatory, was the product of autodidactic approaches applied in all kinds of contexts. Carsten Nicolai began by painting, until a creative crisis in the mid-1990s made him realize that he missed not having a time dimension in his visual works. It was around then that he began experimenting with high frequencies and the ability of the human ear to perceive them. This introduced him to sound as a material which—rather like the light in tele—is able to transport space and time. His interest in sound has continued, and not merely in his art: he is also active as a musician under the pseudonym alva noto and with his own music label. Carsten Nicolai operates across established boundaries between disciplines. Despite his interest in scientific phenomena and issues, it is the ephemerality, process and speculation that fascinate him, rather than the conclusions. This results in alternative models and semiotic systems for thinking about things we cannot describe and for comprehending reality.

Carsten Nicolai – tele Works by Carsten Nicolai (*1965 in Karl-Marx-Stadt, now Chemnitz) oscillate around the interfaces between art and science. He often explores sensory impressions and their (media-based) translation, with transmitters and receivers, classification systems and their breakpoints. Nicolai investigates intangible phenomena that give rise to fundamental questions about human consciousness—such as how much of what we perceive exists beyond our perceptions and to what extent it is constructed by the neural networks in our brains. Inspired by themes usually associated with neurobiology and other natural sciences, which relate to the study of micro- and macrosystems, his objects and installations result from a process of distillation and reduction. He created the light installation tele for the first exhibition space in the Berlinische Galerie. It alludes to a peculiar property of quantum entanglement. The phenomenon whereby two quantum systems that are widely separate in space share the same condition was described by Albert Einstein as “spukhafte Fernwirkung”: the two particles are so interconnected that any change in one has a direct, instantaneous effect on the state of the other, as if there were some telepathic link between them. The two mirror sculptures nearly three metres high, which resemble an Archimedean solid split in two, appear to communicate in equally eerie ways: laser beams flow back and forth between them, and as they hit the photocells they trigger new impulses which constantly replenish the beams. Nicolai builds here on a long-standing interest in self-perpetuating systems which, once they have been designed and set in motion, function without the need for any further intervention by the artist. Although light is immaterial, these laser beams dominate and define the exhibition space. Because electromagnetic waves spread at the speed of light, they are perceived by the human eye as continuous, straight rays, and this lends them a sculptural quality. The mirrors make it look as though the rays carry on into infinity, hinting at another universe, an autonomous system created by the artist. Our ability to see the laser beams varies according to where we stand. Besides, changing perspectives on the sculpted mirrors generate a plethora of images. Nicolai’s intervention tele makes us think about how we perceive: “You have to first perceive percipience in order to speak of perception at all.” (Heinz von Foerster, 1989) Carsten Nicolai has been accustomed to interdisciplinary working and thinking ever since he studied landscape architecture in Dresden. His course combined specialist knowledge from ecology, mathematics, biology, forest management, communication theory, and town and country planning. He grew up and acquired his early views of art in Chemnitz. The creative atmosphere in the city, where there was no art college or musical conservatory, was the product of autodidactic approaches applied in all kinds of contexts. Carsten Nicolai began by painting, until a creative crisis in the mid-1990s made him realize that he missed not having a time dimension in his visual works. It was around then that he began experimenting with high frequencies and the ability of the human ear to perceive them. This introduced him to sound as a material which—rather like the light in tele—is able to transport space and time. His interest in sound has continued, and not merely in his art: he is also active as a musician under the pseudonym alva noto and with his own music label. Carsten Nicolai operates across established boundaries between disciplines. Despite his interest in scientific phenomena and issues, it is the ephemerality, process and speculation that fascinate him, rather than the conclusions. This results in alternative models and semiotic systems for thinking about things we cannot describe and for comprehending reality.
Michelangelo Pistoletto
Michelangelo Pistoletto
Berlin - Hildebrandstrasse 2
until 29-09-2018

Michelangelo Pistoletto – Mirrors and Reflections  

Michelangelo Pistoletto – Mirrors and Reflections  
BRD
BRD
Zrich - Lrchentobelstrasse 25
until 09-09-2018

BRD Albert Oehlen, Georg Baselitz, Katharina Grosse, Karl Horst Hödicke, Martin Kippenberger, Imi Knoebel, Michael Krebber, Thomas Schütte, Sigmar Polke, Stefan Müller Grieder Contemporary is delighted to present the group show: BRD presenting works by three generations of German painters. Characterised by “historical flair.” German art of the 1990s and early 2000s was shaped by the political and social effects of the fall of the Berlin Wall, which resulted in the reunification of the two German states into a "BRD" (The Federal Re-public of Germany), as well as the generational change of the visual artists. Painting in particular occu-pied a pioneering position in the history of German 20th century art. After the Second World War, both East and West German artists set important attitudes for international art history. On the west side of the wall the focus was on the US and its application of abstract painting, whilst the east side emulated the socialist ideologies of Moscow in a more figurative strain. The West German Post-war style, influenced by artists who had escaped from the DDR in the BRD, such as Gerhard Richter, Sigmar Polke and Georg Baselitz, was founded in the late 1980s and developed into the new millennium. It was advanced by a new generation, some of whom were direct students who like their teachers, sought abstraction for new possibilities of expression. Artists such as Albert Oehlen, Mar-tin Kippenberger, Michael Krebber, or also Thomas Schütte, whose sculptural works tie in with the tradi-tion and themes of the 1960s and 1970s, but who distance themselves through the development of their own formal language. "BRD" creates a direct comparison of three generations of German painters. The third generation began in the 2000s and represented here by Stefan Müller and Katharina Grosse, characterises the continuous development of abstract painting in Germany and emphasizes the relevance and importance of German painting and art today.  

BRD Albert Oehlen, Georg Baselitz, Katharina Grosse, Karl Horst Hödicke, Martin Kippenberger, Imi Knoebel, Michael Krebber, Thomas Schütte, Sigmar Polke, Stefan Müller Grieder Contemporary is delighted to present the group show: BRD presenting works by three generations of German painters. Characterised by “historical flair.” German art of the 1990s and early 2000s was shaped by the political and social effects of the fall of the Berlin Wall, which resulted in the reunification of the two German states into a "BRD" (The Federal Re-public of Germany), as well as the generational change of the visual artists. Painting in particular occu-pied a pioneering position in the history of German 20th century art. After the Second World War, both East and West German artists set important attitudes for international art history. On the west side of the wall the focus was on the US and its application of abstract painting, whilst the east side emulated the socialist ideologies of Moscow in a more figurative strain. The West German Post-war style, influenced by artists who had escaped from the DDR in the BRD, such as Gerhard Richter, Sigmar Polke and Georg Baselitz, was founded in the late 1980s and developed into the new millennium. It was advanced by a new generation, some of whom were direct students who like their teachers, sought abstraction for new possibilities of expression. Artists such as Albert Oehlen, Mar-tin Kippenberger, Michael Krebber, or also Thomas Schütte, whose sculptural works tie in with the tradi-tion and themes of the 1960s and 1970s, but who distance themselves through the development of their own formal language. "BRD" creates a direct comparison of three generations of German painters. The third generation began in the 2000s and represented here by Stefan Müller and Katharina Grosse, characterises the continuous development of abstract painting in Germany and emphasizes the relevance and importance of German painting and art today.  
John Giorno
John Giorno
Zrich - Eisfeldstrasse/Grubenackerstrasse
until 02-09-2018

John Giorno: Let it Come, Let it Go, 2017 Since the late 1950s, it has been impossible to imagine New York’s bohemian culture without poet, artist and activist John Giorno (b. 1936 in the USA). Within the milieu of Andy Warhol’s Factory and the beatnik writers’ scene surrounding Allen Ginsberg, Giorno developed an oeuvre of his own, which manifests itself as a synthesis of poetry, performance and art. Inspired by pop culture, Giorno already had his tweet-like poems printed on T-shirts in the 1960s. In 1968, he developed a free hotline for his poetry, under the motto “Dial A Poem”. The popularisation of cultural energy is a matter of importance to this avowed Buddhist. In the exhibition New North Zurich, John Giorno presents two rocks, each of which has a poem engraved into its surface in capital letters. In the context of Schwamendingen and Oerlikon, where they can be seen on green lawns, Giorno’s poems generate new interpretations. Becoming, being, vanishing: these are the grand cosmological themes that Giorno’s poetry addresses – themes that are also strikingly reproduced in these neighbourhoods, which are strongly affected by structural and social transformation.

John Giorno: Let it Come, Let it Go, 2017 Since the late 1950s, it has been impossible to imagine New York’s bohemian culture without poet, artist and activist John Giorno (b. 1936 in the USA). Within the milieu of Andy Warhol’s Factory and the beatnik writers’ scene surrounding Allen Ginsberg, Giorno developed an oeuvre of his own, which manifests itself as a synthesis of poetry, performance and art. Inspired by pop culture, Giorno already had his tweet-like poems printed on T-shirts in the 1960s. In 1968, he developed a free hotline for his poetry, under the motto “Dial A Poem”. The popularisation of cultural energy is a matter of importance to this avowed Buddhist. In the exhibition New North Zurich, John Giorno presents two rocks, each of which has a poem engraved into its surface in capital letters. In the context of Schwamendingen and Oerlikon, where they can be seen on green lawns, Giorno’s poems generate new interpretations. Becoming, being, vanishing: these are the grand cosmological themes that Giorno’s poetry addresses – themes that are also strikingly reproduced in these neighbourhoods, which are strongly affected by structural and social transformation.
Peter Fischli & David Weiss
Peter Fischli & David Weiss
Zrich - Thurgauerstrasse 2
until 02-09-2018

Peter Fischli & David Weiss: Das Haus The idea behind Haus was first implemented by Peter Fischli (b. 1952) and David Weiss (1946-2012) as part of Sculpture Projects Münster in 1987. Haus was intended as a 1:5 scale representation of a four-storey commercial building in the modern international style, which was to atmospherically fit into Münster’s cityscape “near the railway station, between the cinema and the sausage stand”. It was dismantled when the exhibition ended. In 2016, for the Fischli/Weiss retrospective at the Solomon R. Guggenheim Museum in New York, it was recreated in cast aluminium on the basis of the original plans. As of May 2018, this work is permanently installed on a lawn in front of the cycle-racing track Offene Rennbahn Oerlikon. In a 2006 interview with Hans Ulrich Obrist, David Weiss explained that Haus was already retrospective in nature when it first came about: “The observer of the building becomes slightly melancholy because it represents a disappearing era, a time when people still had very different hopes to today.”  At its new permanent location in the middle of Oerlikon Haus acts as an intact fragment of memory that silently counters the incessant expansions and alterations. Part of Neuer Norden Zürich ?http://neuernorden.org

Peter Fischli & David Weiss: Das Haus The idea behind Haus was first implemented by Peter Fischli (b. 1952) and David Weiss (1946-2012) as part of Sculpture Projects Münster in 1987. Haus was intended as a 1:5 scale representation of a four-storey commercial building in the modern international style, which was to atmospherically fit into Münster’s cityscape “near the railway station, between the cinema and the sausage stand”. It was dismantled when the exhibition ended. In 2016, for the Fischli/Weiss retrospective at the Solomon R. Guggenheim Museum in New York, it was recreated in cast aluminium on the basis of the original plans. As of May 2018, this work is permanently installed on a lawn in front of the cycle-racing track Offene Rennbahn Oerlikon. In a 2006 interview with Hans Ulrich Obrist, David Weiss explained that Haus was already retrospective in nature when it first came about: “The observer of the building becomes slightly melancholy because it represents a disappearing era, a time when people still had very different hopes to today.”  At its new permanent location in the middle of Oerlikon Haus acts as an intact fragment of memory that silently counters the incessant expansions and alterations. Part of Neuer Norden Zürich ?http://neuernorden.org
​Class Reunion
?Class Reunion
Vienna - Museumsplatz 1
until 11-11-2018

?Class Reunion. Works from the Gaby and Wilhelm Schürmann Collection Nairy Baghramian, Silvia Bächli, Monika Baer, John Baldessari/Meg Cranston, Francesco Barocco, Jennifer Bornstein, Nicola Brunnhuber, Ernst Caramelle, Kate Davis, Heinrich Dunst, Marina Faust, Morgan Fisher, Jef Geys, Ralph Gibson, Julian Göthe, Trixi Groiss, Gerhard Gronefeld, Julia Haller, Rachel Harrison, Lone Haugaard Madsen, Georg Herold, Nicolas Jasmin, Raimer Jochims, Mike Kelley, , Martin Kippenberger, Silke Otto Knapp, Alwin Lay, Brandon Lattu, Michael Light, Sonia Leimer, Anita Leisz, Jochen Lempert, Zoe Leonard, Chris Martin, Park McArthur, Paul McCarthy, Meuser, Lisette Model, Oswald Oberhuber, Albert Oehlen, Anna Oppermann, Anna Ostoya, Jens Preusse, Rebecca Quaytman, Susanne Paesler, Laurie Parsons, Stephen Prina, Deborah Remington, Lin May Saeed, Pentti Sammallahti, Stefan Sandner, Arlene Shechet, Sigune Siévi, Michael Simpson, Michael E. Smith, Lewis Stein, Jana Sterbark, Esther Stocker, Walter Swennen, Alice Tippit, Joëlle Tuerlinckx, Nora Turato, Anne-Mie Van Kerckhoven, Miriam Visaczki, Franz West, Tristan Wilczek, Christopher Williams, Heimo Zobernig Curated by Wilhelm Schürmann Gaby and Wilhelm Schürmann do not see their collection as just private property or a prestige object, but rather as an item of cultural value that needs exchange with the public. Their collection has been constantly growing since the late 1970s, and it provides an incomparable view of the development of contemporary art from the 1980s onward. This is a progressive statement on behalf of contemporary art that is anchored in social issues and sees itself as a form of communication. The rationale behind the collection, which is held in Herzogenrath near Aachen and in Berlin, is both creative and productive, and the two collectors’ practice can be described as a particularly free-spirited form of cultural production. The act of collecting is realized less in the processes of keeping and completing artworks and is instead understood mainly as an invitation to participate in the public production of connections. This very pragmatic and hands-on approach is manifested in sensual and unconventional gestures of presenting, including the principle of “comparative seeing.” In this sense, the Class Reunion exhibition, the title of which refers to a 2008 installation of the same name by Berlin artist Nairy Baghramian, will unravel an exciting, humorous, and surprising dialogue between the diverse artistic positions in the collection, establishing unexpected points of contact. One focus in this is on Viennese influences on this international collection and its networks.  

?Class Reunion. Works from the Gaby and Wilhelm Schürmann Collection Nairy Baghramian, Silvia Bächli, Monika Baer, John Baldessari/Meg Cranston, Francesco Barocco, Jennifer Bornstein, Nicola Brunnhuber, Ernst Caramelle, Kate Davis, Heinrich Dunst, Marina Faust, Morgan Fisher, Jef Geys, Ralph Gibson, Julian Göthe, Trixi Groiss, Gerhard Gronefeld, Julia Haller, Rachel Harrison, Lone Haugaard Madsen, Georg Herold, Nicolas Jasmin, Raimer Jochims, Mike Kelley, , Martin Kippenberger, Silke Otto Knapp, Alwin Lay, Brandon Lattu, Michael Light, Sonia Leimer, Anita Leisz, Jochen Lempert, Zoe Leonard, Chris Martin, Park McArthur, Paul McCarthy, Meuser, Lisette Model, Oswald Oberhuber, Albert Oehlen, Anna Oppermann, Anna Ostoya, Jens Preusse, Rebecca Quaytman, Susanne Paesler, Laurie Parsons, Stephen Prina, Deborah Remington, Lin May Saeed, Pentti Sammallahti, Stefan Sandner, Arlene Shechet, Sigune Siévi, Michael Simpson, Michael E. Smith, Lewis Stein, Jana Sterbark, Esther Stocker, Walter Swennen, Alice Tippit, Joëlle Tuerlinckx, Nora Turato, Anne-Mie Van Kerckhoven, Miriam Visaczki, Franz West, Tristan Wilczek, Christopher Williams, Heimo Zobernig Curated by Wilhelm Schürmann Gaby and Wilhelm Schürmann do not see their collection as just private property or a prestige object, but rather as an item of cultural value that needs exchange with the public. Their collection has been constantly growing since the late 1970s, and it provides an incomparable view of the development of contemporary art from the 1980s onward. This is a progressive statement on behalf of contemporary art that is anchored in social issues and sees itself as a form of communication. The rationale behind the collection, which is held in Herzogenrath near Aachen and in Berlin, is both creative and productive, and the two collectors’ practice can be described as a particularly free-spirited form of cultural production. The act of collecting is realized less in the processes of keeping and completing artworks and is instead understood mainly as an invitation to participate in the public production of connections. This very pragmatic and hands-on approach is manifested in sensual and unconventional gestures of presenting, including the principle of “comparative seeing.” In this sense, the Class Reunion exhibition, the title of which refers to a 2008 installation of the same name by Berlin artist Nairy Baghramian, will unravel an exciting, humorous, and surprising dialogue between the diverse artistic positions in the collection, establishing unexpected points of contact. One focus in this is on Viennese influences on this international collection and its networks.  
Double Lives
Double Lives
Vienna - Museumsplatz 1
until 11-11-2018

Double Lives. Visual Artists Making Music Alva Noto (Carsten Nicolai); Laurie Anderson; Christian Ludwig Attersee; Beauties of the Night (Christian Egger, Manuel Gorkiewicz, Markus Krottendorfer, Alexander Wolff); John Cage; Captain Beefheart & His Magic Band (Alex St. Clair Snouffer, Jeff Cotton, Jerry Handley, John French); Charlemagne Palestine; Chicken (Hari Ganglberger, Nicholas Hoffman, Katrin Plav?ak); Tony Conrad; Martin Creed & Band; DA EAT (Stefan Branca, Mattias Vatter, Phillip Zaiser, Thomas Zipp), Hanne Darboven; Destroy all Monsters (Mike Kelley, Cary Loren, Jim Shaw, Niagara); Die Tödliche Doris (Tabea Blumenschein, Käthe Kruse, Wolfgang Müller, Nikolaus Utermöhlen); Essachai Vow (Christian Kosmas Mayer, Alexander Wolff); Marcel Duchamp; GRAF+ZYX; Hotel Morphila Orchester (Paul Braunsteiner, Loys Egg, Franz Machek, Wolfgang Stelzer, Peter Weibel); Yves Klein; Jutta Koether; Laibach (Milan Fras, Dejan Knez, Daniel Landin, Ivan Novak); Les Reines Prochaines (Teresa Alonso, Fränzi Madörin, Muda Mathis, Pipilotti Rist, Regina Florida Schmid); Christian Marclay; Molto Brutto (Gunther Damisch, Josef Danner, Blihal, Andreas Kunzmann, Gerwald Rockenschaub); Monoton; Phill Niblock; Hermann Nitsch; Markus Oehlen; Yoko Ono; O.T. (Lothar Fiedler, Helge Leiberg, A. R. Penck, Christoph Winckel); Nam June Paik; Pas Paravant (Felix Dorner, Karl Kowanz, Renate Kowanz-Kocer, Wolfgang Poor, Günther Schrom, ManfreDu Schu, Wolfgang Stengel, Hans Weigand); Stephen Prina; Gerhard Rühm; Luigi Russolo; Selten gehörte Musik (Günter Brus, Hermann Nitsch, Dieter Roth, Gerhard Rühm, Oswald Wiener); Suicide (Alan Vega, Martin Rev); Emily Sundblad mit Pete Drungle und Ensemble, The Alma Band (Herbert Brandl, Josef Danner, Martin Kippenberger, Albert Oehlen, Markus Oehlen); The Pop Rivets (Brand Buds, Wild Billy Childish, Big Russ, Little Russ), The Red Krayola with Art & Language (Kathryn Bigelow, Ian Burn, Jesse Chamberlain, Christine Kozlov, Nigel Lendon, Mel Ramsden, Paula Ramsden, Terry Smith, Mayo Thompson); The Wired Salutation (Andrea Belfi, Angela Bulloch, David Grubbs, Stefano Pilia); Throbbing Gristle (Chris Carter, Cosey Fanni Tutti, Peter Christopherson, Genesis P-Orridge), Wolfgang Tillmans, Trabant (Viðar Hákon Gíslason, Þorvaldur H. Gröndal, Ragnar Kjartansson, Gísli Galdur Thorgeirsson, Hlynur Aðils Vilmarsson), Wendy Gondeln (Albert Oehlen); Heimo Zobernig with Marcus Geiger, Martin Guttmann, Hans Weigand. It is quite remarkable how many fine artists also made music. This was much more than just an interest in another medium. Public musical performances and the production of recorded music involve different ways of working, different environments, and also the confrontation with a different audience. This is why art critic Jörg Heiser refers to a “contextual shift” between the fine arts and music when he writes about this phenomenon beginning in the 1960s. Alluding to the fact that some artists did not make their work in other fields transparent and open, his book is called Double Lives. It is certainly true that there are many different ways in which individuals can either combine these two fields in their lives and work—or keep them separate. In some cases, work in both fields was only known to insiders. Other artists, by contrast, made a deliberate use of the frame of the fine arts for their musical performances. There is a broad spectrum with many intermediate forms. Double Lives will focus on fine artists who wrote or produced music, who performed it in public, or who were members of artists’ bands. This raises the question as to the difference between pure musicians and artists and those working in both fields. The exhibition will also address the role of music by fine artists within the history of 20th and 21st century music. Double Lives will present “only” music, which will be linked with visual material, with videos and photographs of concert and studio performances. The exhibition will thus respect the significance of the artists’ choices of performance situations. As early as 1913, the year of his first ready-made, Marcel Duchamp used principles of chance as a compositional method in his Momentum Musicale, while in the same year futurist Luigi Russolo designed his first noise instruments (Intonarumori). Already in classical modernism, fine artists were developing questions and methods that were to define not only the fine arts but also the musical avantgarde. After World War II, the phenomenon of fine artists making music became more and more significant. Key impulses came from John Cage, a pioneering composer and musician in so many ways, who was always in close contact with fine artists and also himself created a number of visual artworks. In the second half of the 1950s, he taught at the New School for Social Research in New York, where key members of the later Fluxus movement were among his audience. In addition to Fluxus artists, in the 1960s and 1970s, more and more fine artists also came forward as musicians. Their approaches, questions, and methods often resembled those of the fine arts, as in the case of the Americans La Monte Young, Charlemagne Palestine, and Tony Conrad, whose positions were close to minimal art. The same is true of the musical work of European artists, which remained closer to the Western musical traditions than the music of their American colleagues. Important representatives of the double life between the fine arts and music are also to be found among the protagonists in the shift from rock and pop to punk and new wave music. With the success of these new musical movements, and simultaneous with a booming return to painting after the years of conceptual and performance art, the late 1970s and the following years saw a high point in the phenomenon of bands consisting partly or entirely of fine artists. It was not least the art schools that became key focuses for the development of a more or less professional (or often also deliberately amateurish) collective form of musical performance. From the 1990s, the music of fine artists entered into a period of stylistic pluralism, corresponding to developments in the visual arts. Curated by Eva Badura-Triska and Edek Bartz  

Double Lives. Visual Artists Making Music Alva Noto (Carsten Nicolai); Laurie Anderson; Christian Ludwig Attersee; Beauties of the Night (Christian Egger, Manuel Gorkiewicz, Markus Krottendorfer, Alexander Wolff); John Cage; Captain Beefheart & His Magic Band (Alex St. Clair Snouffer, Jeff Cotton, Jerry Handley, John French); Charlemagne Palestine; Chicken (Hari Ganglberger, Nicholas Hoffman, Katrin Plav?ak); Tony Conrad; Martin Creed & Band; DA EAT (Stefan Branca, Mattias Vatter, Phillip Zaiser, Thomas Zipp), Hanne Darboven; Destroy all Monsters (Mike Kelley, Cary Loren, Jim Shaw, Niagara); Die Tödliche Doris (Tabea Blumenschein, Käthe Kruse, Wolfgang Müller, Nikolaus Utermöhlen); Essachai Vow (Christian Kosmas Mayer, Alexander Wolff); Marcel Duchamp; GRAF+ZYX; Hotel Morphila Orchester (Paul Braunsteiner, Loys Egg, Franz Machek, Wolfgang Stelzer, Peter Weibel); Yves Klein; Jutta Koether; Laibach (Milan Fras, Dejan Knez, Daniel Landin, Ivan Novak); Les Reines Prochaines (Teresa Alonso, Fränzi Madörin, Muda Mathis, Pipilotti Rist, Regina Florida Schmid); Christian Marclay; Molto Brutto (Gunther Damisch, Josef Danner, Blihal, Andreas Kunzmann, Gerwald Rockenschaub); Monoton; Phill Niblock; Hermann Nitsch; Markus Oehlen; Yoko Ono; O.T. (Lothar Fiedler, Helge Leiberg, A. R. Penck, Christoph Winckel); Nam June Paik; Pas Paravant (Felix Dorner, Karl Kowanz, Renate Kowanz-Kocer, Wolfgang Poor, Günther Schrom, ManfreDu Schu, Wolfgang Stengel, Hans Weigand); Stephen Prina; Gerhard Rühm; Luigi Russolo; Selten gehörte Musik (Günter Brus, Hermann Nitsch, Dieter Roth, Gerhard Rühm, Oswald Wiener); Suicide (Alan Vega, Martin Rev); Emily Sundblad mit Pete Drungle und Ensemble, The Alma Band (Herbert Brandl, Josef Danner, Martin Kippenberger, Albert Oehlen, Markus Oehlen); The Pop Rivets (Brand Buds, Wild Billy Childish, Big Russ, Little Russ), The Red Krayola with Art & Language (Kathryn Bigelow, Ian Burn, Jesse Chamberlain, Christine Kozlov, Nigel Lendon, Mel Ramsden, Paula Ramsden, Terry Smith, Mayo Thompson); The Wired Salutation (Andrea Belfi, Angela Bulloch, David Grubbs, Stefano Pilia); Throbbing Gristle (Chris Carter, Cosey Fanni Tutti, Peter Christopherson, Genesis P-Orridge), Wolfgang Tillmans, Trabant (Viðar Hákon Gíslason, Þorvaldur H. Gröndal, Ragnar Kjartansson, Gísli Galdur Thorgeirsson, Hlynur Aðils Vilmarsson), Wendy Gondeln (Albert Oehlen); Heimo Zobernig with Marcus Geiger, Martin Guttmann, Hans Weigand. It is quite remarkable how many fine artists also made music. This was much more than just an interest in another medium. Public musical performances and the production of recorded music involve different ways of working, different environments, and also the confrontation with a different audience. This is why art critic Jörg Heiser refers to a “contextual shift” between the fine arts and music when he writes about this phenomenon beginning in the 1960s. Alluding to the fact that some artists did not make their work in other fields transparent and open, his book is called Double Lives. It is certainly true that there are many different ways in which individuals can either combine these two fields in their lives and work—or keep them separate. In some cases, work in both fields was only known to insiders. Other artists, by contrast, made a deliberate use of the frame of the fine arts for their musical performances. There is a broad spectrum with many intermediate forms. Double Lives will focus on fine artists who wrote or produced music, who performed it in public, or who were members of artists’ bands. This raises the question as to the difference between pure musicians and artists and those working in both fields. The exhibition will also address the role of music by fine artists within the history of 20th and 21st century music. Double Lives will present “only” music, which will be linked with visual material, with videos and photographs of concert and studio performances. The exhibition will thus respect the significance of the artists’ choices of performance situations. As early as 1913, the year of his first ready-made, Marcel Duchamp used principles of chance as a compositional method in his Momentum Musicale, while in the same year futurist Luigi Russolo designed his first noise instruments (Intonarumori). Already in classical modernism, fine artists were developing questions and methods that were to define not only the fine arts but also the musical avantgarde. After World War II, the phenomenon of fine artists making music became more and more significant. Key impulses came from John Cage, a pioneering composer and musician in so many ways, who was always in close contact with fine artists and also himself created a number of visual artworks. In the second half of the 1950s, he taught at the New School for Social Research in New York, where key members of the later Fluxus movement were among his audience. In addition to Fluxus artists, in the 1960s and 1970s, more and more fine artists also came forward as musicians. Their approaches, questions, and methods often resembled those of the fine arts, as in the case of the Americans La Monte Young, Charlemagne Palestine, and Tony Conrad, whose positions were close to minimal art. The same is true of the musical work of European artists, which remained closer to the Western musical traditions than the music of their American colleagues. Important representatives of the double life between the fine arts and music are also to be found among the protagonists in the shift from rock and pop to punk and new wave music. With the success of these new musical movements, and simultaneous with a booming return to painting after the years of conceptual and performance art, the late 1970s and the following years saw a high point in the phenomenon of bands consisting partly or entirely of fine artists. It was not least the art schools that became key focuses for the development of a more or less professional (or often also deliberately amateurish) collective form of musical performance. From the 1990s, the music of fine artists entered into a period of stylistic pluralism, corresponding to developments in the visual arts. Curated by Eva Badura-Triska and Edek Bartz  
Thomas Bayrle
Thomas Bayrle
New York - 235 Bowery
until 02-09-2018

Thomas Bayrle – Playtime ents across media and their prescient commentary on the relationship between consumerism, technology, propaganda, and desire. One of the most important artists to have emerged during the 1960s West German economic boom, Bayrle has received belated recognition for his influential works and processes. Long before the advent of current visual technologies, he foresaw our digital reality, employing photocopy machines and other midcentury tools in his early works to create analog visualizations of what are now fundamental traits of our digital culture. Bayrle’s thematic investigations have ranged from a visual analysis of mass culture and consumerism to reflections on the intersection of technology with global politics. Presented on the third and fourth floors of the Museum, this comprehensive survey will bring together over 115 works, including paintings, sculptures, drawings, wallpapers and prints, early computer-based art, videos, and 16mm films. The exhibition will present selections from Bayrle’s most iconic series, including several of his rarely exhibited “painted machines”—hand-painted kinetic works inspired by images of Chinese pageants and other mass demonstrations. Bayrle created these works during a period when he was working simultaneously in corporate advertising and for Germany’s student protest movement. In his words, he “mixed communist and capitalist patterns without qualm, simply under the aspect of accumulation.” This logic of accumulation would lead to the development of Bayrle’s “super-forms,” densely composed images in which smaller units are used to build larger figurative forms. These works, several of which will be on view, take the form of silkscreen prints depicting a variety of figures and objects from consumer culture. The exhibition will also highlight how the artist has expanded these serial patterns beyond traditional artworks into textiles, wallpaper, carpeting, and garments. Bayrle’s work has also looked at the proliferation and uniformity of the global mega-city and its infrastructure networks. The show brings together a number of works created by Bayrle starting in the 1970s that model anonymous grids of city blocks and highways—works he initially envisioned while working as a jacquard weaver and staring into the hypnotic patterns of the thread crossings. Also during this period, Bayrle began to directly address the seductive nature of technology by creating paintings, paper assemblages, and kinetic sculptures that adopt the language of religious icon and symbols. Over the past several decades, his working methods have expanded to incorporate the sort of digital technologies his earliest work anticipated. He was one of the first artists to experiment with computers, and this presentation will explore his innovations across a variety of media including paintings, films, and tapestries. The fourth floor of the exhibition will feature a number of large-scale works by Bayrle, including his monumental Flugzeug (Airplane) (1984), presented alongside his recent kinetic sculptures made of repurposed automobile parts repeatedly reciting the rosary, as in his much-celebrated inclusion in dOCUMENTA 13 (2012). The five decades’ worth of work in this exhibition will demonstrate the critical prescience of Bayrle’s output and the profound influence he has had on younger artists working around the world today. The exhibition is curated by Massimiliano Gioni, Edlis Neeson Artistic Director; Gary Carrion-Murayari, Kraus Family Curator; and Helga Christoffersen, Associate Curator. The exhibition will be accompanied by a fully illustrated catalog published by Phaidon, with contributions from Kerstin Brätsch, Mark Godfrey, Alex Kitnick, Oliver Laric, and Christine Mehring, as well as a new interview between the artist and Massimiliano Gioni. Thomas Bayrle was born in Berlin, Germany, in 1937, and lives and works in Frankfurt. 

Thomas Bayrle – Playtime ents across media and their prescient commentary on the relationship between consumerism, technology, propaganda, and desire. One of the most important artists to have emerged during the 1960s West German economic boom, Bayrle has received belated recognition for his influential works and processes. Long before the advent of current visual technologies, he foresaw our digital reality, employing photocopy machines and other midcentury tools in his early works to create analog visualizations of what are now fundamental traits of our digital culture. Bayrle’s thematic investigations have ranged from a visual analysis of mass culture and consumerism to reflections on the intersection of technology with global politics. Presented on the third and fourth floors of the Museum, this comprehensive survey will bring together over 115 works, including paintings, sculptures, drawings, wallpapers and prints, early computer-based art, videos, and 16mm films. The exhibition will present selections from Bayrle’s most iconic series, including several of his rarely exhibited “painted machines”—hand-painted kinetic works inspired by images of Chinese pageants and other mass demonstrations. Bayrle created these works during a period when he was working simultaneously in corporate advertising and for Germany’s student protest movement. In his words, he “mixed communist and capitalist patterns without qualm, simply under the aspect of accumulation.” This logic of accumulation would lead to the development of Bayrle’s “super-forms,” densely composed images in which smaller units are used to build larger figurative forms. These works, several of which will be on view, take the form of silkscreen prints depicting a variety of figures and objects from consumer culture. The exhibition will also highlight how the artist has expanded these serial patterns beyond traditional artworks into textiles, wallpaper, carpeting, and garments. Bayrle’s work has also looked at the proliferation and uniformity of the global mega-city and its infrastructure networks. The show brings together a number of works created by Bayrle starting in the 1970s that model anonymous grids of city blocks and highways—works he initially envisioned while working as a jacquard weaver and staring into the hypnotic patterns of the thread crossings. Also during this period, Bayrle began to directly address the seductive nature of technology by creating paintings, paper assemblages, and kinetic sculptures that adopt the language of religious icon and symbols. Over the past several decades, his working methods have expanded to incorporate the sort of digital technologies his earliest work anticipated. He was one of the first artists to experiment with computers, and this presentation will explore his innovations across a variety of media including paintings, films, and tapestries. The fourth floor of the exhibition will feature a number of large-scale works by Bayrle, including his monumental Flugzeug (Airplane) (1984), presented alongside his recent kinetic sculptures made of repurposed automobile parts repeatedly reciting the rosary, as in his much-celebrated inclusion in dOCUMENTA 13 (2012). The five decades’ worth of work in this exhibition will demonstrate the critical prescience of Bayrle’s output and the profound influence he has had on younger artists working around the world today. The exhibition is curated by Massimiliano Gioni, Edlis Neeson Artistic Director; Gary Carrion-Murayari, Kraus Family Curator; and Helga Christoffersen, Associate Curator. The exhibition will be accompanied by a fully illustrated catalog published by Phaidon, with contributions from Kerstin Brätsch, Mark Godfrey, Alex Kitnick, Oliver Laric, and Christine Mehring, as well as a new interview between the artist and Massimiliano Gioni. Thomas Bayrle was born in Berlin, Germany, in 1937, and lives and works in Frankfurt. 
Seth Price
Seth Price
New York - 22-25 Jackson Avenue
until 03-09-2018

Seth Price – Danny, Mila, Hannah, Ariana, Bob, Brad This recent series of large-scale photographs by Seth Price (American, b. 1973) depicts magnified details of human skin in high resolution, bearing only the first names of the people who served as the artist’s models. Presented as a discrete installation, these abstract portraits of people of various ages, genders, and races document portions of each subject’s body in extreme detail. Using a robotic camera typically deployed for scientific research or forensic study, Price captured thousands of high-definition images in a single sitting, focusing on a specific area such as the arm or leg. The resulting images were subsequently stitched together using satellite-imaging software, run through a 3D graphics program, and adjusted by a fashion retoucher. Printed on fabric and stretched over commercial light boxes, these digital skins take on an inner light, fusing human warmth with a screen-like glow. Since the mid-2000s, Price’s work has been celebrated for its reflection of the cultural, political, and economic conditions of this new century through the use of disparate image formats, fashion, music, commercial packaging, and advertising applications. Less noted is the connection that much of his art has to the body. Whether invoking it through violent media images, sexual cartoons, casts, clothing, or sewage pipes, Price returns repeatedly to the body as the site where technology’s effects register most acutely, if mysteriously. Combining the crisp detail of close observation with the impersonal breadth afforded by panoramic view, the photographs presented here provide uncannily intimate representations that nevertheless reveal very little about their models.  

Seth Price – Danny, Mila, Hannah, Ariana, Bob, Brad This recent series of large-scale photographs by Seth Price (American, b. 1973) depicts magnified details of human skin in high resolution, bearing only the first names of the people who served as the artist’s models. Presented as a discrete installation, these abstract portraits of people of various ages, genders, and races document portions of each subject’s body in extreme detail. Using a robotic camera typically deployed for scientific research or forensic study, Price captured thousands of high-definition images in a single sitting, focusing on a specific area such as the arm or leg. The resulting images were subsequently stitched together using satellite-imaging software, run through a 3D graphics program, and adjusted by a fashion retoucher. Printed on fabric and stretched over commercial light boxes, these digital skins take on an inner light, fusing human warmth with a screen-like glow. Since the mid-2000s, Price’s work has been celebrated for its reflection of the cultural, political, and economic conditions of this new century through the use of disparate image formats, fashion, music, commercial packaging, and advertising applications. Less noted is the connection that much of his art has to the body. Whether invoking it through violent media images, sexual cartoons, casts, clothing, or sewage pipes, Price returns repeatedly to the body as the site where technology’s effects register most acutely, if mysteriously. Combining the crisp detail of close observation with the impersonal breadth afforded by panoramic view, the photographs presented here provide uncannily intimate representations that nevertheless reveal very little about their models.  
Excavation
Excavation
New York - 176 Grand Street
until 31-08-2018

Excavation Zahoor ul Akhlaq, N. Dash, Josephine Halvorson, Corin Hewitt, Erik Lindman, Stanley Rosen Peter Blum Gallery is pleased to announce Excavation, featuring works by: Zahoor ul Akhlaq, N. Dash, Josephine Halvorson, Corin Hewitt, Erik Lindman, and Stanley Rosen, on view at 176 Grand Street, New York. There will be an opening reception on Thursday, June 7 from 6-8 pm.  The exhibition runs through July 27.   Zahoor ul Akhlaq (1941–1999, Lahore, Pakistan) was a pioneering artist from Pakistan whose works combine Southeast Asian traditional aesthetic values with Western modernism, pop art, and color-field painting. Akhlaq's paintings incorporate motifs from Mughal Miniatures, calligraphy, and vernacular architecture, among a wide range of other influences from around the world.  Most of Akhlaq’s career was spent in post-colonial Pakistan during a time of social and political instability.  The works he made in this environment resonate with the complicated dichotomy between “East” and “West”.  We will present a group of small heavily textured paintings from the early to mid-1990’s.   N. Dash (b.1980, Miami, FL) has a multivalent practice that involves painting, sculpture, and photography, and often incorporates linen, graphite, styrofoam and adobe earth.  In all of Dash’s work there is a concern with bodily intelligence as it is expressed through tactile interactions and interventions with natural and synthetic materials.  The ultimate form, color, and constitution of the works is shaped by the artist’s physical engagement with material over time.  We will present a new large scale painting.   Josephine Halvorson (b.1981, Brewster, MA) investigates objects and environments through paintings made directly on site. Working within arm’s length of her subject over the course of daylight hours, Halvorson’s position foregrounds attention, experience and locale. We will present five recent gouache on paper works, which were made of the dirt and detritus Halvorson observed at a disused mine in the California/Nevada desert.                                                                                          Corin Hewitt (b.1971, Vermont) has a project-based practice that spans sculpture, photography, video, and installation.  Hewitt’s work probes history and domestic life, creating narratives and integrating personal biography into the places and objects that he encounters.  The resulting constellation of artworks and experiences conflate real and fabricated histories, playing with notions of authenticity and value.  Since last spring, Hewitt has been digging trenches, excavating walls, and conducting archival research into the history of his current home/studio in Richmond, Virginia. We will present sculptures that come out of this recent ongoing project titled The Granby Inn, which takes its name from a bar and restaurant that occupied Hewitt’s house from 1932-74.   Erik Lindman (b.1985, New York, NY) uses anonymous found surfaces as compositional elements in his paintings. Found sheets of painted luan or marred shards of stainless steel are joined, glued, and screwed to the canvas, initiating a cascade of decisions that ultimately articulate value and attention.  Cropping, awareness of scale, and use of negative space combine with the absorbency, luminosity, and superficial variation of these surfaces.  The specific processes and material choices Lindman makes function to both focus attention on the cultural ramifications of the works and assert the plain material fact of their existence.  We will present three recent large scale paintings.   Stanley Rosen (b.1926, Brooklyn, NY), makes intimately scaled ceramic stoneware sculptures, often unglazed and within a range of earthy browns, tans, and grays.  Rosen’s objects are built up with a slow accumulation of small rolled coils of clay around an inch in length.  The sculptures show clear reverence for artifacts, architecture and aesthetic principles of past civilizations while at the same time resonating with an energy that seems foreign and futuristic.  We will present a selection of five ceramic sculptures.

Excavation Zahoor ul Akhlaq, N. Dash, Josephine Halvorson, Corin Hewitt, Erik Lindman, Stanley Rosen Peter Blum Gallery is pleased to announce Excavation, featuring works by: Zahoor ul Akhlaq, N. Dash, Josephine Halvorson, Corin Hewitt, Erik Lindman, and Stanley Rosen, on view at 176 Grand Street, New York. There will be an opening reception on Thursday, June 7 from 6-8 pm.  The exhibition runs through July 27.   Zahoor ul Akhlaq (1941–1999, Lahore, Pakistan) was a pioneering artist from Pakistan whose works combine Southeast Asian traditional aesthetic values with Western modernism, pop art, and color-field painting. Akhlaq's paintings incorporate motifs from Mughal Miniatures, calligraphy, and vernacular architecture, among a wide range of other influences from around the world.  Most of Akhlaq’s career was spent in post-colonial Pakistan during a time of social and political instability.  The works he made in this environment resonate with the complicated dichotomy between “East” and “West”.  We will present a group of small heavily textured paintings from the early to mid-1990’s.   N. Dash (b.1980, Miami, FL) has a multivalent practice that involves painting, sculpture, and photography, and often incorporates linen, graphite, styrofoam and adobe earth.  In all of Dash’s work there is a concern with bodily intelligence as it is expressed through tactile interactions and interventions with natural and synthetic materials.  The ultimate form, color, and constitution of the works is shaped by the artist’s physical engagement with material over time.  We will present a new large scale painting.   Josephine Halvorson (b.1981, Brewster, MA) investigates objects and environments through paintings made directly on site. Working within arm’s length of her subject over the course of daylight hours, Halvorson’s position foregrounds attention, experience and locale. We will present five recent gouache on paper works, which were made of the dirt and detritus Halvorson observed at a disused mine in the California/Nevada desert.                                                                                          Corin Hewitt (b.1971, Vermont) has a project-based practice that spans sculpture, photography, video, and installation.  Hewitt’s work probes history and domestic life, creating narratives and integrating personal biography into the places and objects that he encounters.  The resulting constellation of artworks and experiences conflate real and fabricated histories, playing with notions of authenticity and value.  Since last spring, Hewitt has been digging trenches, excavating walls, and conducting archival research into the history of his current home/studio in Richmond, Virginia. We will present sculptures that come out of this recent ongoing project titled The Granby Inn, which takes its name from a bar and restaurant that occupied Hewitt’s house from 1932-74.   Erik Lindman (b.1985, New York, NY) uses anonymous found surfaces as compositional elements in his paintings. Found sheets of painted luan or marred shards of stainless steel are joined, glued, and screwed to the canvas, initiating a cascade of decisions that ultimately articulate value and attention.  Cropping, awareness of scale, and use of negative space combine with the absorbency, luminosity, and superficial variation of these surfaces.  The specific processes and material choices Lindman makes function to both focus attention on the cultural ramifications of the works and assert the plain material fact of their existence.  We will present three recent large scale paintings.   Stanley Rosen (b.1926, Brooklyn, NY), makes intimately scaled ceramic stoneware sculptures, often unglazed and within a range of earthy browns, tans, and grays.  Rosen’s objects are built up with a slow accumulation of small rolled coils of clay around an inch in length.  The sculptures show clear reverence for artifacts, architecture and aesthetic principles of past civilizations while at the same time resonating with an energy that seems foreign and futuristic.  We will present a selection of five ceramic sculptures.
Keith Sonnier
Keith Sonnier
New York - 23 Corwith Avenue
until 26-05-2019

Keith Sonnier – Dis-Play II Keith Sonnier’s Dis-Play II (1970) is an environmental installation of foam rubber, fluorescent powder, strobe light, black light, neon, plywood, and glass. Dis-Play II is shown with Film and Videos 1968–1977, a selection reflecting Sonnier’s decade-long exploration of sound and media work. Alongside peers such as Carl Andre, Dan Flavin, Eva Hesse, Bruce Nauman, and Jackie Winsor, Sonnier utilized nontraditional and specifically ephemeral materials in his production. In his own words, “we made art that was defined by its defiance of the traditional idea of what could be considered art.” First exhibited in Sonnier’s solo exhibition at the Castelli Warehouse in New York in 1970, Dis-Play II brings together his ongoing interest in film, light, and experiential art environments.  

Keith Sonnier – Dis-Play II Keith Sonnier’s Dis-Play II (1970) is an environmental installation of foam rubber, fluorescent powder, strobe light, black light, neon, plywood, and glass. Dis-Play II is shown with Film and Videos 1968–1977, a selection reflecting Sonnier’s decade-long exploration of sound and media work. Alongside peers such as Carl Andre, Dan Flavin, Eva Hesse, Bruce Nauman, and Jackie Winsor, Sonnier utilized nontraditional and specifically ephemeral materials in his production. In his own words, “we made art that was defined by its defiance of the traditional idea of what could be considered art.” First exhibited in Sonnier’s solo exhibition at the Castelli Warehouse in New York in 1970, Dis-Play II brings together his ongoing interest in film, light, and experiential art environments.  
Jeff Koons
Jeff Koons
New York - 976 Madison Avenue
until 24-08-2018

Jeff Koons  

Jeff Koons  
Micha Cattaui
Micha Cattaui
Cologne - Erftstrasse 29
until 25-08-2018

Micha Cattaui – Antiquity 2.0  What if ancient Greek philosophers, gods, heroes, and artists came alive today? What would they say? How would we perceive them? How prophetic were their thoughts? How relevant are they for our world today?   The 21st century is the most interesting century of all the humankind’s history. Almost every section of human activity from politics to sciences has changed and improved significantly. Contemporary and modern artists have repeatedly used sculptures from antiquity as the starting point for their inspiration. One can only admire the quality and craftsmanship seen in antique art; often rivaled, mimicked, copied, but never equaled. With Micha’s new works, the artist bridges that sense of artistic perfection seen in Ancient Greece and merges it with our modern society of mass consumerism. The result is a collaboration and a conversation between three body of works; the sculpture, a “pop” photograph of the sculpture and a museum location shoot where the sculpture is imagined back into “context”. All three items, although based on the same sculpture, allows for a different political expression in each individual artwork. Artist Statement:  “I believe that art should be critical of our times and try to engage the viewer in having a conversation. In ancient Greece, art and humor was applied on an almost industrial scale on items such as vases. They are a centuries old testament that humor is a cornerstone of a civilization and a prerequisite for democracy. With my new works, I try to combine that very idea that humor/sarcasm should be an integral part of a political observation.” Antiquity 2.0 started its European tour in Monte Carlo, where Prince Albert II of Monaco inaugurated the opening, followed by an exhibition in Cologne, Germany, with Mirko Mayer gallery and will finally be seen, in its entirety with DL galleries in Piraeus.

Micha Cattaui – Antiquity 2.0  What if ancient Greek philosophers, gods, heroes, and artists came alive today? What would they say? How would we perceive them? How prophetic were their thoughts? How relevant are they for our world today?   The 21st century is the most interesting century of all the humankind’s history. Almost every section of human activity from politics to sciences has changed and improved significantly. Contemporary and modern artists have repeatedly used sculptures from antiquity as the starting point for their inspiration. One can only admire the quality and craftsmanship seen in antique art; often rivaled, mimicked, copied, but never equaled. With Micha’s new works, the artist bridges that sense of artistic perfection seen in Ancient Greece and merges it with our modern society of mass consumerism. The result is a collaboration and a conversation between three body of works; the sculpture, a “pop” photograph of the sculpture and a museum location shoot where the sculpture is imagined back into “context”. All three items, although based on the same sculpture, allows for a different political expression in each individual artwork. Artist Statement:  “I believe that art should be critical of our times and try to engage the viewer in having a conversation. In ancient Greece, art and humor was applied on an almost industrial scale on items such as vases. They are a centuries old testament that humor is a cornerstone of a civilization and a prerequisite for democracy. With my new works, I try to combine that very idea that humor/sarcasm should be an integral part of a political observation.” Antiquity 2.0 started its European tour in Monte Carlo, where Prince Albert II of Monaco inaugurated the opening, followed by an exhibition in Cologne, Germany, with Mirko Mayer gallery and will finally be seen, in its entirety with DL galleries in Piraeus.
Martha Rosler
Martha Rosler
Cologne - Elisenstrasse 4-6
until 31-08-2018

Martha Rosler, 1981: The year the future began Curated by Jorge Ribalta, originally organized by àngels barcelona The exhibition, which is curated by Jorge Ribalta and was originally organized by àngels barcelona, presents a group of mostly unpublished photographs, taken in 1981, a key moment in the neo-vanguardist politicization of Rosler’s work. That year, Rosler published her book 3 Works, which synthesized some key works from the 1970s and which marked a turning point in her career, partly because it included the publication of the essay “In, Around and Afterthoughts … On Documentary Photography,” one of the key theoretical texts on the “reinvention” of the documentary. (Also in this book was a work centering on the coup in Chile and a visit to northern Mexico.) Further, in that same year she was part of a group of North American artists and intellectuals traveling to Cuba, while a few months later, she participated in the second Latin American Colloquium of Photography in Mexico City. Her artistic and intellectual activity is indissociable from the democratic struggles in Latin America. With the various projects she was working on at the time, this became a biographically crucial moment for her (marked by her return to New York after over a decade in California and Canada), that made her contribute decisively to the paradigm shift in documentary discourse. A couple of days later, on May 3, she marched to the steps of the Pentagon in Washington D.C. as part of the largest anti-war demonstration in a decade, opposing U.S. intervention in El Salvador.

Martha Rosler, 1981: The year the future began Curated by Jorge Ribalta, originally organized by àngels barcelona The exhibition, which is curated by Jorge Ribalta and was originally organized by àngels barcelona, presents a group of mostly unpublished photographs, taken in 1981, a key moment in the neo-vanguardist politicization of Rosler’s work. That year, Rosler published her book 3 Works, which synthesized some key works from the 1970s and which marked a turning point in her career, partly because it included the publication of the essay “In, Around and Afterthoughts … On Documentary Photography,” one of the key theoretical texts on the “reinvention” of the documentary. (Also in this book was a work centering on the coup in Chile and a visit to northern Mexico.) Further, in that same year she was part of a group of North American artists and intellectuals traveling to Cuba, while a few months later, she participated in the second Latin American Colloquium of Photography in Mexico City. Her artistic and intellectual activity is indissociable from the democratic struggles in Latin America. With the various projects she was working on at the time, this became a biographically crucial moment for her (marked by her return to New York after over a decade in California and Canada), that made her contribute decisively to the paradigm shift in documentary discourse. A couple of days later, on May 3, she marched to the steps of the Pentagon in Washington D.C. as part of the largest anti-war demonstration in a decade, opposing U.S. intervention in El Salvador.
Larry Sultan
Larry Sultan
Cologne - Schnhauser Strasse 8
until 25-08-2018

Larry Sultan – Swimmers  

Larry Sultan – Swimmers  
Douglas Gordon
Douglas Gordon
Dsseldorf - Grabbeplatz 5
until 19-08-2018

Douglas Gordon – k.364 The internationally acclaimed Scottish artist Douglas Gordon (*1966) presents his striking, largescale video installation "k.364", 2010 in the Grabbe Halle of the K20. In this 50-minute work, which is projected onto a pair of two-sided screens, the artist follows two Israeli musicians of Polish-Jewish heritage on their journey by train from Berlin to Warsaw, where they are scheduled to perform Mozart’s "Sinfonia Concertante for Violin, Viola, and Orchestra in E flat Major, KV 364" in the National Philharmonic. Their reflections concerning the Holocaust, the landscape, so charged with historical memory, and their visit to a synagogue in Poznan – misappropriated as a swimming hall since in the National Socialist era – are mixed with the sound of the rolling train and the soothing tones of Mozart's symphony. The work movingly documents of the profound trust of the  protagonists in the power of music against the subtly delineated background of a dark and unredeemed history.

Douglas Gordon – k.364 The internationally acclaimed Scottish artist Douglas Gordon (*1966) presents his striking, largescale video installation "k.364", 2010 in the Grabbe Halle of the K20. In this 50-minute work, which is projected onto a pair of two-sided screens, the artist follows two Israeli musicians of Polish-Jewish heritage on their journey by train from Berlin to Warsaw, where they are scheduled to perform Mozart’s "Sinfonia Concertante for Violin, Viola, and Orchestra in E flat Major, KV 364" in the National Philharmonic. Their reflections concerning the Holocaust, the landscape, so charged with historical memory, and their visit to a synagogue in Poznan – misappropriated as a swimming hall since in the National Socialist era – are mixed with the sound of the rolling train and the soothing tones of Mozart's symphony. The work movingly documents of the profound trust of the  protagonists in the power of music against the subtly delineated background of a dark and unredeemed history.
Jack Goldstein
Jack Goldstein
Los Angeles - 6150 Wilshire Boulevard
until 18-08-2018

Jack Goldstein – Under Water Sea Fantasy 1301PE is pleased to present its fourth exhibition with the late Jack Goldstein. The show includes Goldstein’s significant film Under Water Sea Fantasy along with nine silkscreened text and color photographs: Portfolio of Performance, and James Welling’s Jack Goldstein’s Studio. A central figure of the “Pictures Generation”, Goldstein’s work included film, performance, writing, text, painting, sound, and sculpture. Under Water Sea Fantasy began production in 1983 and was completed before his untimely death in 2003. His film reveals Goldstein’s acute understanding of the perception of spectacle and the power of image. Using production values influenced by Hollywood studio techniques, he exploits the spectacular effects of visual presence and the interplay of sound and image. Footage of natural phenomena such as underwater life, volcanic eruptions and celestial events is montaged into a flow of appearing and disappearing energies with no clear narrative structure. At once serene and violent, the seductive visual impact of this film is mesmerizing. Underwater Sea Fantasy premiered in the 2004 Whitney Biennial. Goldstein’s Portfolio of Performance documents and describes in exacting detail nine of his proposed art performances from 1976 - 1985: The Jump, Sound Performance, Two Boxers, Two Fencers, Records, The Murder, Fire/Body/Light, Body Contortionist and Burning Window. These performances are cinematic in nature and parallel his film work from this period. They remove the artist centric nature of performances. The portfolio serves almost as a set of instructions for additional stagings or interpretations of the original performances, essentially rendering the artist unnecessary to the process.  

Jack Goldstein – Under Water Sea Fantasy 1301PE is pleased to present its fourth exhibition with the late Jack Goldstein. The show includes Goldstein’s significant film Under Water Sea Fantasy along with nine silkscreened text and color photographs: Portfolio of Performance, and James Welling’s Jack Goldstein’s Studio. A central figure of the “Pictures Generation”, Goldstein’s work included film, performance, writing, text, painting, sound, and sculpture. Under Water Sea Fantasy began production in 1983 and was completed before his untimely death in 2003. His film reveals Goldstein’s acute understanding of the perception of spectacle and the power of image. Using production values influenced by Hollywood studio techniques, he exploits the spectacular effects of visual presence and the interplay of sound and image. Footage of natural phenomena such as underwater life, volcanic eruptions and celestial events is montaged into a flow of appearing and disappearing energies with no clear narrative structure. At once serene and violent, the seductive visual impact of this film is mesmerizing. Underwater Sea Fantasy premiered in the 2004 Whitney Biennial. Goldstein’s Portfolio of Performance documents and describes in exacting detail nine of his proposed art performances from 1976 - 1985: The Jump, Sound Performance, Two Boxers, Two Fencers, Records, The Murder, Fire/Body/Light, Body Contortionist and Burning Window. These performances are cinematic in nature and parallel his film work from this period. They remove the artist centric nature of performances. The portfolio serves almost as a set of instructions for additional stagings or interpretations of the original performances, essentially rendering the artist unnecessary to the process.  
Andrea Zittel
Andrea Zittel
Los Angeles - 10899 Wilshire Boulevard
until 30-09-2018

Hammer Museum Store: A-Z West Works Pop-Up by Andrea Zittel The A-Z West Works pop-up shop, now open at the Hammer Museum Store, features a selection of works generated from A-Z West, Andrea Zittel's home and testing grounds for living prototypes in Joshua Tree, CA, and from High Desert Test Sites (HDTS), the arts nonprofit founded in 2002 by Andrea Zittel, Andy Stillpass, John Connelly, Lisa Anne Auerbach, and Shaun Caley Regen that promotes experimental exchanges in the High Desert of Southern California. Proceeds from all HDTS rock and product sales will support HDTS projects and monthly programming. The pop-up includes a new line of A-Z West Works products alongside an array of one-of-a-kind ceramics, textiles, furnishings, books, snacks, tinctures, and clothing made by artists from the High Desert community. The pop-up also features the annual High Desert Test Sites Gem/Mineral Expo, which offers stones sourced from Quartzsite, Arizona, as well as other HDTS products including publications, postcards, and print editions. Special A-Z West Works events will take place at the store throughout the duration of the pop-up, and more details will be announced.

Hammer Museum Store: A-Z West Works Pop-Up by Andrea Zittel The A-Z West Works pop-up shop, now open at the Hammer Museum Store, features a selection of works generated from A-Z West, Andrea Zittel's home and testing grounds for living prototypes in Joshua Tree, CA, and from High Desert Test Sites (HDTS), the arts nonprofit founded in 2002 by Andrea Zittel, Andy Stillpass, John Connelly, Lisa Anne Auerbach, and Shaun Caley Regen that promotes experimental exchanges in the High Desert of Southern California. Proceeds from all HDTS rock and product sales will support HDTS projects and monthly programming. The pop-up includes a new line of A-Z West Works products alongside an array of one-of-a-kind ceramics, textiles, furnishings, books, snacks, tinctures, and clothing made by artists from the High Desert community. The pop-up also features the annual High Desert Test Sites Gem/Mineral Expo, which offers stones sourced from Quartzsite, Arizona, as well as other HDTS products including publications, postcards, and print editions. Special A-Z West Works events will take place at the store throughout the duration of the pop-up, and more details will be announced.
Ed Ruscha
Ed Ruscha
Los Angeles - 2622 La Cienega Boulevard
until 18-08-2018

Ed Ruscha – Prints & Ephemera Ed Ruscha moved to Los Angeles to study at Chouinard Art Institute (now California Institute of the Arts) in 1956, graduating in 1960. Stemming from an interest in landscape, signage, literature, and poetry, Ruscha has explored the relationship between image and language for nearly six decades. His work has been associated with movements spanning Pop, Surrealism, and Conceptual Art. Printmaking has been integral to Ruscha’s work alongside his painting and drawing practice. This exhibition brings together a collection of prints, ephemera, and films spanning the artist's rich career. 

Ed Ruscha – Prints & Ephemera Ed Ruscha moved to Los Angeles to study at Chouinard Art Institute (now California Institute of the Arts) in 1956, graduating in 1960. Stemming from an interest in landscape, signage, literature, and poetry, Ruscha has explored the relationship between image and language for nearly six decades. His work has been associated with movements spanning Pop, Surrealism, and Conceptual Art. Printmaking has been integral to Ruscha’s work alongside his painting and drawing practice. This exhibition brings together a collection of prints, ephemera, and films spanning the artist's rich career. 
Mark Grotjahn
Mark Grotjahn
Los Angeles - 5905 Wilshire Boulevard
until 19-08-2018

Mark Grotjahn – 50 Kitchens Los Angeles-based artist Mark Grotjahn (b. 1968) has made “Butterfly” compositions since 2002, and the latest to come out of his studio is 50 Kitchens (2013–18), exhibited here for the first time. Conceived as one work, 50 Kitchens takes its inspiration from a single composition (in black and cream-colored pencil) that Grotjahn made to meet the dimensional specifications of a wall in his kitchen. The more than 50 subsequent chromatic drawings explore pairs of radiating colors (like Tuscan Red and Chartreuse, or Grass Green and Canary Yellow) and together create a prismatic display. The works allude to artists interested in color, light, and optics, such as Wassily Kandinsky and the Op art painters of the 1960s, and also incorporate residual traces of earlier drawings that have been seamlessly integrated into the new works.  

Mark Grotjahn – 50 Kitchens Los Angeles-based artist Mark Grotjahn (b. 1968) has made “Butterfly” compositions since 2002, and the latest to come out of his studio is 50 Kitchens (2013–18), exhibited here for the first time. Conceived as one work, 50 Kitchens takes its inspiration from a single composition (in black and cream-colored pencil) that Grotjahn made to meet the dimensional specifications of a wall in his kitchen. The more than 50 subsequent chromatic drawings explore pairs of radiating colors (like Tuscan Red and Chartreuse, or Grass Green and Canary Yellow) and together create a prismatic display. The works allude to artists interested in color, light, and optics, such as Wassily Kandinsky and the Op art painters of the 1960s, and also incorporate residual traces of earlier drawings that have been seamlessly integrated into the new works.  
Olafur Eliasson
Olafur Eliasson
Los Angeles - 4357 Wilshire Boulevard
until 25-08-2018

Olafur Eliasson – Reality Projector Marciano Art Foundation is excited to announce its second artist project, a site-specific installation created for the foundation’s expansive first floor Theater Gallery. Maurice and Paul Marciano have invited renowned interdisciplinary artist Olafur Eliasson for his first major exhibition in Los Angeles, in over a decade. Eliasson’s art–comprising sculpture, painting, photography, film, and installation–is driven by his interests in perception, movement, embodied experience, and feelings of self. For his exhibition at the foundation, titled Reality projector (2018), Eliasson has conceived of a seemingly simple, yet complex installation that uses projected light and the existing architecture of the space to create a dynamic shadow play. The artwork references the space’s former function as a theater as well as the history of filmmaking in the city by turning the entire space into an abstract, three-dimensional film. Eliasson’s exhibition offers visitors the opportunity to fully experience the magnificence of the space free of objects. Reality projector will be on view beginning March 1, 2018 and will remain on view until August. Eliasson strives to make the concerns of art relevant to society at large. Art, for him, is a crucial means for turning thinking into doing in the world. Not limited to the confines of the museum and gallery, his practice engages the broader public sphere through architectural projects and interventions in civic space. Due to these interests and the experiential nature of his work, Eliasson was a natural choice to create a site-specific installation in the distinctive 13,500 square-foot space. Olafur Eliasson, born 1967, grew up in Iceland and Denmark. In 1995, he moved to Berlin and founded Studio Olafur Eliasson, which today encompasses some ninety craftsmen, specialized technicians, architects, archivists, administrators, programmers, art historians, and cooks. Since the mid-1990s, Eliasson has realized numerous major exhibitions and projects around the world. In 2003, Eliasson represented Denmark at the 50th Venice Biennale and later that year, he installed The weather project in Tate Modern’s Turbine Hall, London. Take your time: Olafur Eliasson, a survey exhibition organized by SFMOMA in 2007, travelled until 2010 to various venues, including the Museum of Modern Art, New York. Eliasson’s projects in public space include The New York City Waterfalls, 2008, commissioned by Public Art Fund, and Ice Watch, which brought melting icebergs from Greenland to Copenhagen in 2014 and to Paris on the occasion of the COP21 Climate Conference in 2015. In 2012, Eliasson and engineer Frederik Ottesen founded the social business Little Sun, which provides clean, affordable light to communities without access to electricity and spreads awareness about the need to expand access to sustainable energy to all (www.littlesun.com). Eliasson and architect Sebastian Behmann founded Studio Other Spaces, an international office for art and architecture focusing on interdisciplinary and experimental building projects and works in public space, in 2014. (www.studiootherspaces.net).

Olafur Eliasson – Reality Projector Marciano Art Foundation is excited to announce its second artist project, a site-specific installation created for the foundation’s expansive first floor Theater Gallery. Maurice and Paul Marciano have invited renowned interdisciplinary artist Olafur Eliasson for his first major exhibition in Los Angeles, in over a decade. Eliasson’s art–comprising sculpture, painting, photography, film, and installation–is driven by his interests in perception, movement, embodied experience, and feelings of self. For his exhibition at the foundation, titled Reality projector (2018), Eliasson has conceived of a seemingly simple, yet complex installation that uses projected light and the existing architecture of the space to create a dynamic shadow play. The artwork references the space’s former function as a theater as well as the history of filmmaking in the city by turning the entire space into an abstract, three-dimensional film. Eliasson’s exhibition offers visitors the opportunity to fully experience the magnificence of the space free of objects. Reality projector will be on view beginning March 1, 2018 and will remain on view until August. Eliasson strives to make the concerns of art relevant to society at large. Art, for him, is a crucial means for turning thinking into doing in the world. Not limited to the confines of the museum and gallery, his practice engages the broader public sphere through architectural projects and interventions in civic space. Due to these interests and the experiential nature of his work, Eliasson was a natural choice to create a site-specific installation in the distinctive 13,500 square-foot space. Olafur Eliasson, born 1967, grew up in Iceland and Denmark. In 1995, he moved to Berlin and founded Studio Olafur Eliasson, which today encompasses some ninety craftsmen, specialized technicians, architects, archivists, administrators, programmers, art historians, and cooks. Since the mid-1990s, Eliasson has realized numerous major exhibitions and projects around the world. In 2003, Eliasson represented Denmark at the 50th Venice Biennale and later that year, he installed The weather project in Tate Modern’s Turbine Hall, London. Take your time: Olafur Eliasson, a survey exhibition organized by SFMOMA in 2007, travelled until 2010 to various venues, including the Museum of Modern Art, New York. Eliasson’s projects in public space include The New York City Waterfalls, 2008, commissioned by Public Art Fund, and Ice Watch, which brought melting icebergs from Greenland to Copenhagen in 2014 and to Paris on the occasion of the COP21 Climate Conference in 2015. In 2012, Eliasson and engineer Frederik Ottesen founded the social business Little Sun, which provides clean, affordable light to communities without access to electricity and spreads awareness about the need to expand access to sustainable energy to all (www.littlesun.com). Eliasson and architect Sebastian Behmann founded Studio Other Spaces, an international office for art and architecture focusing on interdisciplinary and experimental building projects and works in public space, in 2014. (www.studiootherspaces.net).
Matthew Porter
Matthew Porter
Los Angeles - 612 North Almont Drive
until 25-08-2018

Matthew Porter – News From Nowhere M+B is pleased to present News From Nowhere, Matthew Porter’s fifth solo exhibition with the gallery. The exhibition consists of a series of color and black & white photographs, depicting a fictional place that centers around the construction, abandonment, and rediscovery of a series of dome structures. The location is a tropical island, and three discrete characters make appearances. They are seen performing tasks, but their roles, and the timeline of their involvement, is never clear. Part science fiction, part fantasy, and part narrative riff, the work is a nod to both the real and literary tradition of placing stories of post colonial hubris in tropical locations.   

Matthew Porter – News From Nowhere M+B is pleased to present News From Nowhere, Matthew Porter’s fifth solo exhibition with the gallery. The exhibition consists of a series of color and black & white photographs, depicting a fictional place that centers around the construction, abandonment, and rediscovery of a series of dome structures. The location is a tropical island, and three discrete characters make appearances. They are seen performing tasks, but their roles, and the timeline of their involvement, is never clear. Part science fiction, part fantasy, and part narrative riff, the work is a nod to both the real and literary tradition of placing stories of post colonial hubris in tropical locations.   
Katja Novitskova
Katja Novitskova
London - 77-82 Whitechapel High Street
until 02-09-2018

Katja Novitskova – Invasion Curves Trawling through the digital sphere’s ‘ocean of signs’, Katja Novitskova (b. 1984, Estonia) creates immersive environments inhabited by a luminous bestiary. She is known for her dramatic, cutout images of animals at play with representations from financial and scientific sources. Her latest installation presents a landscape overcome by a ‘biotic crisis’, where imaging and technology are used in a process of mapping the exploitation of life. Images captured by scanners, cameras and satellites – from the bodies of lab organisms to the flows generated by image processing algorithms – are rendered as vivid sculptures, and projections. Worms defy gravity and genetically modified life forms hatch from eggs among a tangled undergrowth of cables. At the heart of the exhibition, modified baby rockers gyrate eerily. Surrounding this unsettling landscape, floating resin clouds are inscribed with phrases speculating on the impact of global data on our consciousness and the environment. Growth curves, derived from corporate culture, echoed in the forms of the worms and cables, offer a wry comment on humanity’s drive towards advancement in the name of profit. The display brings together elements from Novitskova’s presentation at the Estonian Pavilion, 57th Venice Biennale, 2017.

Katja Novitskova – Invasion Curves Trawling through the digital sphere’s ‘ocean of signs’, Katja Novitskova (b. 1984, Estonia) creates immersive environments inhabited by a luminous bestiary. She is known for her dramatic, cutout images of animals at play with representations from financial and scientific sources. Her latest installation presents a landscape overcome by a ‘biotic crisis’, where imaging and technology are used in a process of mapping the exploitation of life. Images captured by scanners, cameras and satellites – from the bodies of lab organisms to the flows generated by image processing algorithms – are rendered as vivid sculptures, and projections. Worms defy gravity and genetically modified life forms hatch from eggs among a tangled undergrowth of cables. At the heart of the exhibition, modified baby rockers gyrate eerily. Surrounding this unsettling landscape, floating resin clouds are inscribed with phrases speculating on the impact of global data on our consciousness and the environment. Growth curves, derived from corporate culture, echoed in the forms of the worms and cables, offer a wry comment on humanity’s drive towards advancement in the name of profit. The display brings together elements from Novitskova’s presentation at the Estonian Pavilion, 57th Venice Biennale, 2017.
Urs Fischer
Urs Fischer
London - 62 Kingly St
until 18-08-2018

Urs Fischer – Soft Because I am painting with light, I had to find an awesome printer to retain that. I say what I want them to look like, to hold that light, and get as close as we can through the printing. Usually you are making a print that is the result of a digital instruction from a computer to a printer and you have to accept the limits of that format. You cannot get back in there and change it. That is also why they are printed on gesso, to help them retain that glow. And to my surprise they do glow, they look glowing.  

Urs Fischer – Soft Because I am painting with light, I had to find an awesome printer to retain that. I say what I want them to look like, to hold that light, and get as close as we can through the printing. Usually you are making a print that is the result of a digital instruction from a computer to a printer and you have to accept the limits of that format. You cannot get back in there and change it. That is also why they are printed on gesso, to help them retain that glow. And to my surprise they do glow, they look glowing.  
Shape of Light
Shape of Light
London - Bankside
until 14-10-2018

Shape of Light For the first time, Tate Modern tells the intertwined stories of photography and abstract art The birth of abstract art and the invention of photography were both defining moments in modern visual culture, but these two stories are often told separately.  Shape of Light is the first major exhibition to explore the relationship between the two, spanning the century from the 1910s to the present day. It brings to life the innovation and originality of photographers over this period, and shows how they responded and contributed to the development of abstraction.  Key photographs are brought together from pioneers including Man Ray and Alfred Stieglitz, major contemporary artists such as Barbara Kasten and Thomas Ruff, right up to exciting new work by Antony Cairns, Maya Rochat and Daisuke Yokota, made especially for the exhibition.  

Shape of Light For the first time, Tate Modern tells the intertwined stories of photography and abstract art The birth of abstract art and the invention of photography were both defining moments in modern visual culture, but these two stories are often told separately.  Shape of Light is the first major exhibition to explore the relationship between the two, spanning the century from the 1910s to the present day. It brings to life the innovation and originality of photographers over this period, and shows how they responded and contributed to the development of abstraction.  Key photographs are brought together from pioneers including Man Ray and Alfred Stieglitz, major contemporary artists such as Barbara Kasten and Thomas Ruff, right up to exciting new work by Antony Cairns, Maya Rochat and Daisuke Yokota, made especially for the exhibition.  
Pablo Bronstein
Pablo Bronstein
London - 50 Finsbury Square
until 12-01-2019

Pablo Bronstein – London in its Original Splendour  

Pablo Bronstein – London in its Original Splendour  
Lee Bul
Lee Bul
London - 180 The Strand
until 19-08-2018

Lee Bul – Crashing For the past three decades, Lee Bul (b. 1964, Seoul, South Korea) has explored questions of intimacy, gender, technology and class—as well as the tension between despair and hope, horror and beauty—through works that range from provocative guerrilla performances, to large-scale installations that attempt to get our body and our brain "working at the same time, together." Taking over the entire Hayward Gallery, Lee Bul: Crashing brings together more than 100 works from the late 1980s to the present day, including a number of new sculptures and a site-specific commission, in order to explore the full range of her pioneering, thought-provoking and highly inventive practice. Shaped by her experience of growing up in South Korea during a period of political upheaval, much of Lee Bul’s work is concerned with trauma, and the way that idealism or the pursuit of perfection—bodily, political or aesthetic—might lead to failure, or disaster. Questioning women’s place in society, particularly Korean society, she also addresses the ways in which popular culture—in both the East and West—informs and shapes our idea of "feminine" beauty. Setting out to "mix things together, conceptually and also materially," Lee Bul draws on diverse sources that include science fiction, 20th century history, philosophy and personal experience, whilst making use of deliberately "clashing" materials that range from the organic to the industrial, from silk and mother of pearl, to fibreglass and silicone. Since the early 2000s, she has focused on architectural utopianism, bringing together references to both real and imagined architecture in sprawling sculptures of futuristic cityscapes. At the core of her most recent work is an investigation into landscape, which for the artist includes the intimate landscape of the body, ideal or fictional landscapes, and the physical world that surrounds us. Opening with the artist’s iconic Cyborg, Monster and Anagram series, Lee Bul: Crashing features documentation of her early performances, seminal works such as Majestic Splendor (1991–2018)—an installation consisting of rotting, sequinned fish—and the pivotal Live Forever III (2001), which acts as a bridge between her early figurative works and the later installations. Also on display, some for the first time, are the artist’s paintings and wall pieces, along with drawings and architectural models that illuminate the way that her three-dimensional works are developed. The exhibition culminates with the monumental Willing To Be Vulnerable – Metalized Balloon (2015–16), suspended above a mirrored floor in Hayward’s light-filled upper galleries. This colossal sculpture—which references the 1937 Hindenburg disaster—is at once aspirational and optimistic, and concerned with technological failure, fragmentation and destruction. It is accompanied by the artist’s new intricate sculptural work Scale of Tongue (2017–18), which makes subtle reference to the Sewol Ferry Disaster of 2014.  

Lee Bul – Crashing For the past three decades, Lee Bul (b. 1964, Seoul, South Korea) has explored questions of intimacy, gender, technology and class—as well as the tension between despair and hope, horror and beauty—through works that range from provocative guerrilla performances, to large-scale installations that attempt to get our body and our brain "working at the same time, together." Taking over the entire Hayward Gallery, Lee Bul: Crashing brings together more than 100 works from the late 1980s to the present day, including a number of new sculptures and a site-specific commission, in order to explore the full range of her pioneering, thought-provoking and highly inventive practice. Shaped by her experience of growing up in South Korea during a period of political upheaval, much of Lee Bul’s work is concerned with trauma, and the way that idealism or the pursuit of perfection—bodily, political or aesthetic—might lead to failure, or disaster. Questioning women’s place in society, particularly Korean society, she also addresses the ways in which popular culture—in both the East and West—informs and shapes our idea of "feminine" beauty. Setting out to "mix things together, conceptually and also materially," Lee Bul draws on diverse sources that include science fiction, 20th century history, philosophy and personal experience, whilst making use of deliberately "clashing" materials that range from the organic to the industrial, from silk and mother of pearl, to fibreglass and silicone. Since the early 2000s, she has focused on architectural utopianism, bringing together references to both real and imagined architecture in sprawling sculptures of futuristic cityscapes. At the core of her most recent work is an investigation into landscape, which for the artist includes the intimate landscape of the body, ideal or fictional landscapes, and the physical world that surrounds us. Opening with the artist’s iconic Cyborg, Monster and Anagram series, Lee Bul: Crashing features documentation of her early performances, seminal works such as Majestic Splendor (1991–2018)—an installation consisting of rotting, sequinned fish—and the pivotal Live Forever III (2001), which acts as a bridge between her early figurative works and the later installations. Also on display, some for the first time, are the artist’s paintings and wall pieces, along with drawings and architectural models that illuminate the way that her three-dimensional works are developed. The exhibition culminates with the monumental Willing To Be Vulnerable – Metalized Balloon (2015–16), suspended above a mirrored floor in Hayward’s light-filled upper galleries. This colossal sculpture—which references the 1937 Hindenburg disaster—is at once aspirational and optimistic, and concerned with technological failure, fragmentation and destruction. It is accompanied by the artist’s new intricate sculptural work Scale of Tongue (2017–18), which makes subtle reference to the Sewol Ferry Disaster of 2014.  
Charles Gaines
Charles Gaines
Miami - 61 NE 41st Street
until 04-11-2018

Charles Gaines Activating the staircase's vertical cantilevers, the site-specific installation by Charles Gaines will explore the artists's application of seriality on a massive scale. Gaine's practice places him within the legacy of conceptualism, evidenced by works such as his gridded, serial images of trees painted on Plexiglas.

Charles Gaines Activating the staircase's vertical cantilevers, the site-specific installation by Charles Gaines will explore the artists's application of seriality on a massive scale. Gaine's practice places him within the legacy of conceptualism, evidenced by works such as his gridded, serial images of trees painted on Plexiglas.
The World's Game
The World's Game
Miami - 1103 Biscayne Blvd
until 02-09-2018

The World's Game. Fútbol and Contemporary Art The World’s Game: Fútbol and Contemporary Art is an art-based exhibition on the subject of soccer, or fútbol, and its interactions with societies around the world. Planned to overlap with the 2018 FIFA World Cup™, the exhibition will explore how the sport has stimulated artists to reflect upon its implications on society. With approximately twenty artists working in video, photography, painting, and sculpture, the aim of this exhibition is to create an experience where the viewer/spectator can use a universal theme to engage with the work of contemporary artists from around the world. Through visual art, PAMM seeks to present the art form of soccer—a place where social, cultural, and political issues of identity, nationalism, globalism, and mass spectacle play out vibrantly. The exhibition celebrates the commonality of human experience through a sport that has been one of the few common languages worldwide.  

The World's Game. Fútbol and Contemporary Art The World’s Game: Fútbol and Contemporary Art is an art-based exhibition on the subject of soccer, or fútbol, and its interactions with societies around the world. Planned to overlap with the 2018 FIFA World Cup™, the exhibition will explore how the sport has stimulated artists to reflect upon its implications on society. With approximately twenty artists working in video, photography, painting, and sculpture, the aim of this exhibition is to create an experience where the viewer/spectator can use a universal theme to engage with the work of contemporary artists from around the world. Through visual art, PAMM seeks to present the art form of soccer—a place where social, cultural, and political issues of identity, nationalism, globalism, and mass spectacle play out vibrantly. The exhibition celebrates the commonality of human experience through a sport that has been one of the few common languages worldwide.  
Laure Prouvost
Laure Prouvost
Miami - 2100 Collins Avenue
until 02-09-2018

Laure Prouvost They Are Waiting for You presents Laure Prouvost’s absorbing moving image installations in which she conflates reality with fiction and art with everyday life. Often narrated in the artist’s voice, and interspersed with spoken and written instructions that directly address the viewer, her works confound expectations through a rapid-fire succession of moving images and sounds. Combining painting, sculpture, and found objects, Prouvost draws us into a shifting terrain where we lose our grasp of words and meanings, while the objects around us seem to gain theirs. Laure Prouvost’s artistic output consistently returns to themes of escape into unfamiliar worlds or imaginings of unexpected alternative environments. A strong narrative impulse propels her practice, resulting in immersive, trans-medial installations with interwoven story lines that combine fiction and reality. Her videos, installations, paintings and tapestries unhinge commonplace and expected connections between language, image, and perception. Stepping away from traditional linear narratives, the artist crafts sensual environments laden with playful mistranslation that open a space for the viewer to grapple with the unstable relationship between imagination and reality. Prouvost (b. 1978, Croix-Lille, France) lives and works in London, U.K. and Antwerp, Belgium. Recent solo exhibitions include: Softer and rounder so as to shine through your smooth marble, SALT Galata, Istanbul (2017); the wet wet wanderer, Witte de With Center for Contemporary Art, Rotterdam (2017); Laure Prouvost, wot hit talk, Laznia Centre for Contemporary Art, Gda?sk (2017); And she will say: hi her, ailleurs, to higher grounds…, Kunstmuseum Luzern (2016); GDM-Grandad Visitor Center, Pirelli Hangar Bicocca, Milan (2016); all behind, we’ll go deeper, deep down and she will say:, MMK, Frankfurt (2016); Dropped here and then, to live, leave it all behind, FRAC/ Consortium Dijon (2016); A Way To Leak, Lick, Leek, Fahrenheit, Los Angeles (2016); We Will Go Far, Musée Départemental d’Art Contemporain de Rochechouart (2015), It, Heat, Hit, e-flux, New York (2015), Der Öffentlichkeit — Von Den Freunden Haus Der Kunst, Haus der Kunst, Munich (2015), For Forgetting, New Museum, New York (2014). Provoust received the Max Mara Art Prize for Women in 2011 and the Turner Prize in 2013.

Laure Prouvost They Are Waiting for You presents Laure Prouvost’s absorbing moving image installations in which she conflates reality with fiction and art with everyday life. Often narrated in the artist’s voice, and interspersed with spoken and written instructions that directly address the viewer, her works confound expectations through a rapid-fire succession of moving images and sounds. Combining painting, sculpture, and found objects, Prouvost draws us into a shifting terrain where we lose our grasp of words and meanings, while the objects around us seem to gain theirs. Laure Prouvost’s artistic output consistently returns to themes of escape into unfamiliar worlds or imaginings of unexpected alternative environments. A strong narrative impulse propels her practice, resulting in immersive, trans-medial installations with interwoven story lines that combine fiction and reality. Her videos, installations, paintings and tapestries unhinge commonplace and expected connections between language, image, and perception. Stepping away from traditional linear narratives, the artist crafts sensual environments laden with playful mistranslation that open a space for the viewer to grapple with the unstable relationship between imagination and reality. Prouvost (b. 1978, Croix-Lille, France) lives and works in London, U.K. and Antwerp, Belgium. Recent solo exhibitions include: Softer and rounder so as to shine through your smooth marble, SALT Galata, Istanbul (2017); the wet wet wanderer, Witte de With Center for Contemporary Art, Rotterdam (2017); Laure Prouvost, wot hit talk, Laznia Centre for Contemporary Art, Gda?sk (2017); And she will say: hi her, ailleurs, to higher grounds…, Kunstmuseum Luzern (2016); GDM-Grandad Visitor Center, Pirelli Hangar Bicocca, Milan (2016); all behind, we’ll go deeper, deep down and she will say:, MMK, Frankfurt (2016); Dropped here and then, to live, leave it all behind, FRAC/ Consortium Dijon (2016); A Way To Leak, Lick, Leek, Fahrenheit, Los Angeles (2016); We Will Go Far, Musée Départemental d’Art Contemporain de Rochechouart (2015), It, Heat, Hit, e-flux, New York (2015), Der Öffentlichkeit — Von Den Freunden Haus Der Kunst, Haus der Kunst, Munich (2015), For Forgetting, New Museum, New York (2014). Provoust received the Max Mara Art Prize for Women in 2011 and the Turner Prize in 2013.
Still Human
Still Human
Miami - 95 NW 29th Street
until 25-08-2018

Still Human   Ed Atkins, Neil Beloufa, Frank Benson, Paul Chan, Andrea Crespo, Simon Denny, Cécile B. Evans, Loretta Fahrenholz, Isa Genzken, Christian Holstad, Anne Imhof, Josh Kline, Liu Chuang, Shahryar Nashat, Katja Novitskova, Yuri Pattison, Seth Price, Christina Quarles, Jon Rafman, Sean Raspet, Charles Ray, Jennifer Rubell, Max Hooper Schneider, Frances Stark, Hito Steyerl, Iiu Susiraja, Hank Willis Thomas, Ryan Trecartin, Theo Triantafyllidis, Stewart Uoo, Wang Shang, Andro Wekua, Jordan Wolfson, Anicka Yi ?Still Human confronts the complex consequences of the digital revolution and recent technological developments as they redefine the human condition. Twenty-five artists working across a range of mediums address concerns related to artificial intelligence, biotechnology, bioethics, planned obsolescence, desire as mediated by technology, surveillance, social justice, and virtual existence.  Is there perhaps something in the universe that cannot be reduced to data? Suppose non-conscious algorithms could eventually outperform conscious intelligence in all known data-processing tasks -- what, if anything, would be lost by replacing conscious intelligence with superior non-conscious algorithms?    – Yuval Noah Harari

Still Human   Ed Atkins, Neil Beloufa, Frank Benson, Paul Chan, Andrea Crespo, Simon Denny, Cécile B. Evans, Loretta Fahrenholz, Isa Genzken, Christian Holstad, Anne Imhof, Josh Kline, Liu Chuang, Shahryar Nashat, Katja Novitskova, Yuri Pattison, Seth Price, Christina Quarles, Jon Rafman, Sean Raspet, Charles Ray, Jennifer Rubell, Max Hooper Schneider, Frances Stark, Hito Steyerl, Iiu Susiraja, Hank Willis Thomas, Ryan Trecartin, Theo Triantafyllidis, Stewart Uoo, Wang Shang, Andro Wekua, Jordan Wolfson, Anicka Yi ?Still Human confronts the complex consequences of the digital revolution and recent technological developments as they redefine the human condition. Twenty-five artists working across a range of mediums address concerns related to artificial intelligence, biotechnology, bioethics, planned obsolescence, desire as mediated by technology, surveillance, social justice, and virtual existence.  Is there perhaps something in the universe that cannot be reduced to data? Suppose non-conscious algorithms could eventually outperform conscious intelligence in all known data-processing tasks -- what, if anything, would be lost by replacing conscious intelligence with superior non-conscious algorithms?    – Yuval Noah Harari
Francis Alÿs
Francis Als
Miami - 61 NE 41st Street
until 25-11-2018

Francis Alÿs The Institute of Contemporary Art, Miami hosts a presentation of paintings by Francis Alÿs based on three important multipanel works in the museum’s permanent collection. The artist’s “Sign Painting Project” series (1993–97), one of his first important bodies of work, involves his close collaboration with three commercial sign makers in Mexico City who copied, enlarged, or otherwise interpreted his original paintings. Alÿs in turn made new versions of his paintings based on these interpretations, calling into question the final works’ authorship and value. This body of work is typical to Alÿs for its deft navigation of social and economic factors. Reflecting on the declining art of commercial sign painting in a digital and hyper-capitalist age, the artist considers the culture of image making and disrupts the market, redistributing value to traditional image makers. Francis Alÿs (b. 1959, Antwerp, Belgium) is an interdisciplinary conceptual artist working in installation, video, painting, drawing, photography, and performance to address issues of geopolitical and social conflict in urban environments. Trained as an architect, Alÿs moved to Mexico City in 1986, where he began making public performance works as meditations on the experience of urban living. These interventions into urban space reflect conditions of dynamic unrest among communities living on Latin American borders. Alÿs’s solo exhibitions at major international institutions include the Museum of Contemporary Art Tokyo; Tate Modern, London; Wiels Centre d’Art Contemporain, Brussels; Museum of Modern Art, New York; and Hammer Museum, Los Angeles. His work belongs to the permanent collections of, among many others, the Institute of Contemporary Art, Miami; Philadelphia Museum of Art; Art Institute of Chicago; Solomon R. Guggenheim Museum, New York; and Stedelijk Museum Amsterdam. The artist lives and works in Mexico City.  

Francis Alÿs The Institute of Contemporary Art, Miami hosts a presentation of paintings by Francis Alÿs based on three important multipanel works in the museum’s permanent collection. The artist’s “Sign Painting Project” series (1993–97), one of his first important bodies of work, involves his close collaboration with three commercial sign makers in Mexico City who copied, enlarged, or otherwise interpreted his original paintings. Alÿs in turn made new versions of his paintings based on these interpretations, calling into question the final works’ authorship and value. This body of work is typical to Alÿs for its deft navigation of social and economic factors. Reflecting on the declining art of commercial sign painting in a digital and hyper-capitalist age, the artist considers the culture of image making and disrupts the market, redistributing value to traditional image makers. Francis Alÿs (b. 1959, Antwerp, Belgium) is an interdisciplinary conceptual artist working in installation, video, painting, drawing, photography, and performance to address issues of geopolitical and social conflict in urban environments. Trained as an architect, Alÿs moved to Mexico City in 1986, where he began making public performance works as meditations on the experience of urban living. These interventions into urban space reflect conditions of dynamic unrest among communities living on Latin American borders. Alÿs’s solo exhibitions at major international institutions include the Museum of Contemporary Art Tokyo; Tate Modern, London; Wiels Centre d’Art Contemporain, Brussels; Museum of Modern Art, New York; and Hammer Museum, Los Angeles. His work belongs to the permanent collections of, among many others, the Institute of Contemporary Art, Miami; Philadelphia Museum of Art; Art Institute of Chicago; Solomon R. Guggenheim Museum, New York; and Stedelijk Museum Amsterdam. The artist lives and works in Mexico City.  
Karen Rifas
Karen Rifas
Miami - 2100 Collins Avenue
until 21-10-2018

Karen Rifas – Deceptive Constructions For more than thirty years, Miami-based artist Karen Rifas has amassed a body of work that endeavors to understand and re-imagine space. Well known for her minimal cord and leaf installations, and precise, methodical line drawings, in 2016, Rifas began a focused exploration into the constructive possibilities of color. Employing densely hued shapes and irregular lines, Rifas creates spaces that oscillate between the two- and three-dimensional. Deceptive Constructions surveys this recent body of work for the artist’s first solo museum exhibition in over 10 years. Through variegated floor and sculptural installations, works on paper, and wood panel, Rifas uses a concise language of richly contrasted color to alter our perception of space. Karen Rifas (Chicago, b. 1942) lives and works in Miami and is a professor at New World School of the Arts. Recent solo exhibitions have been held at: Emerson Dorsch (2017), Meeting House Gallery (2016), De La Cruz Collection (2010), Pinnacle Gallery, Savannah College of Art and Design (2007), Polk Museum of Art (2004), and Museo De Arte Comtemporaneo, Panama City (1993). She has also exhibited in group shows and presented the following projects: Transphysics, Art and Culture Center, Hollywood (2017), 100+ Degrees in the Shade: A Survey of South Florida Art (2015), MIA-BER, Berlin Arts Club (2014), Following the Line, Girls’ Club (2012), I Triennial, Santo Domingo (2010), globe>miami<island, DC Museum of Contemporary Art (2002) and The Bass (2001). Rifas is represented in various permanent collections, including The Bass (Miami Beach), Fairchild Tropical Gardens (Miami), Metro-Dade Art in Public Places Trust (Miami), Museo de Arte de Ponce (Puerto Rico), Museum of Contemporary Art (North Miami), Perez Art Museum Miami, and Valencia Community College (Orlando).  

Karen Rifas – Deceptive Constructions For more than thirty years, Miami-based artist Karen Rifas has amassed a body of work that endeavors to understand and re-imagine space. Well known for her minimal cord and leaf installations, and precise, methodical line drawings, in 2016, Rifas began a focused exploration into the constructive possibilities of color. Employing densely hued shapes and irregular lines, Rifas creates spaces that oscillate between the two- and three-dimensional. Deceptive Constructions surveys this recent body of work for the artist’s first solo museum exhibition in over 10 years. Through variegated floor and sculptural installations, works on paper, and wood panel, Rifas uses a concise language of richly contrasted color to alter our perception of space. Karen Rifas (Chicago, b. 1942) lives and works in Miami and is a professor at New World School of the Arts. Recent solo exhibitions have been held at: Emerson Dorsch (2017), Meeting House Gallery (2016), De La Cruz Collection (2010), Pinnacle Gallery, Savannah College of Art and Design (2007), Polk Museum of Art (2004), and Museo De Arte Comtemporaneo, Panama City (1993). She has also exhibited in group shows and presented the following projects: Transphysics, Art and Culture Center, Hollywood (2017), 100+ Degrees in the Shade: A Survey of South Florida Art (2015), MIA-BER, Berlin Arts Club (2014), Following the Line, Girls’ Club (2012), I Triennial, Santo Domingo (2010), globe>miami<island, DC Museum of Contemporary Art (2002) and The Bass (2001). Rifas is represented in various permanent collections, including The Bass (Miami Beach), Fairchild Tropical Gardens (Miami), Metro-Dade Art in Public Places Trust (Miami), Museo de Arte de Ponce (Puerto Rico), Museum of Contemporary Art (North Miami), Perez Art Museum Miami, and Valencia Community College (Orlando).  
Walter Darby Bannard
Walter Darby Bannard
Miami - 61 NE 41st Street
until 09-09-2018

Walter Darby Bannard: 1959-1962 “Walter Darby Bannard: 1959-1962” is a focused presentation of a series of breakthrough paintings Walter Darby Bannard produced over a period of several years during which he abandoned gestural brushwork and developed a pared-down geometric vocabulary. As was the case for other artists of his generation who aspired to advance abstraction, the years in which these paintings were produced represented for Bannard a moment of reckoning with the lessons and legacy of Abstract Expressionism-and with the desire to inaugurate a new era in American painting. Living in Princeton, New Jersey, at the time that he made these works and working alongside fellow artist Frank Stella, who was on the verge of his own breakthrough with his series “Black Paintings” (1958-60), and Michael Fried, who would soon become one of the leading art critics of his generation, Bannard purged his paintings of any vestiges of self-expression and pared the canvases down to a single geometric form in a colored field. This allowed him to explore what he deemed painting’s most important aspects: the use of color and a “total, in-your-face presentation,” whereby all that the painting had to offer was right there in front of the viewer, all at once. Although Bannard would go on to become a leading figure in the development of Color painting and would be included in seminal exhibitions beginning in the mid-1960s, the early works presented in “Walter Darby Bannard: 1959-1962” have rarely and only recently been exhibited. As Fried writes in the catalogue accompanying the exhibition, these paintings “never had their moment in the sun around the time they were made, which is to say that catching up with them now-at long last acknowledging their ambition, refinement, and unorthodox beauty-has the additional character of doing belated justice to a remarkable achievement.” This presentation provides an opportunity to help serve this belated justice and doubles as homage to Bannard’s presence in and contribution to the Miami community, through both his studio work and as a leading professor in the departmet of art and art history at the University of Miami from 1989 to 2016. Walter Darby Bannard (b. 1934, New Haven; d. 2016, Miami), a leading figure in the development of Color Field painting, held over one hundred solo exhibitions during his lifetime, and was included the seminal exhibitions “Post-Painterly Abstraction,” curated by Clement Greenberg at the Los Angeles County Museum of Art in 1964, and “The Responsive Eye,” curated by William Seitz at the Museum of Modern Art, New York, in 1965. His work can be found in the permanent collections of the Centre George Pompidou, Paris; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Museum of Fine Arts, Boston; and the Museum of Fine Arts, Houston, among many others. Bannard served as the chair of the art and art history department at the University of Miami from 1989 to 1992.  

Walter Darby Bannard: 1959-1962 “Walter Darby Bannard: 1959-1962” is a focused presentation of a series of breakthrough paintings Walter Darby Bannard produced over a period of several years during which he abandoned gestural brushwork and developed a pared-down geometric vocabulary. As was the case for other artists of his generation who aspired to advance abstraction, the years in which these paintings were produced represented for Bannard a moment of reckoning with the lessons and legacy of Abstract Expressionism-and with the desire to inaugurate a new era in American painting. Living in Princeton, New Jersey, at the time that he made these works and working alongside fellow artist Frank Stella, who was on the verge of his own breakthrough with his series “Black Paintings” (1958-60), and Michael Fried, who would soon become one of the leading art critics of his generation, Bannard purged his paintings of any vestiges of self-expression and pared the canvases down to a single geometric form in a colored field. This allowed him to explore what he deemed painting’s most important aspects: the use of color and a “total, in-your-face presentation,” whereby all that the painting had to offer was right there in front of the viewer, all at once. Although Bannard would go on to become a leading figure in the development of Color painting and would be included in seminal exhibitions beginning in the mid-1960s, the early works presented in “Walter Darby Bannard: 1959-1962” have rarely and only recently been exhibited. As Fried writes in the catalogue accompanying the exhibition, these paintings “never had their moment in the sun around the time they were made, which is to say that catching up with them now-at long last acknowledging their ambition, refinement, and unorthodox beauty-has the additional character of doing belated justice to a remarkable achievement.” This presentation provides an opportunity to help serve this belated justice and doubles as homage to Bannard’s presence in and contribution to the Miami community, through both his studio work and as a leading professor in the departmet of art and art history at the University of Miami from 1989 to 2016. Walter Darby Bannard (b. 1934, New Haven; d. 2016, Miami), a leading figure in the development of Color Field painting, held over one hundred solo exhibitions during his lifetime, and was included the seminal exhibitions “Post-Painterly Abstraction,” curated by Clement Greenberg at the Los Angeles County Museum of Art in 1964, and “The Responsive Eye,” curated by William Seitz at the Museum of Modern Art, New York, in 1965. His work can be found in the permanent collections of the Centre George Pompidou, Paris; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Museum of Fine Arts, Boston; and the Museum of Fine Arts, Houston, among many others. Bannard served as the chair of the art and art history department at the University of Miami from 1989 to 1992.  
Allison Zuckerman
Allison Zuckerman
Miami - 95 NW 29th Street
until 25-08-2018

Allison Zuckerman – Stranger in Paradise Allison Zuckerman, the foundation's 2017 artist-in-residence, has created large format paintings and sculptures using the foundation’s main gallery as her studio this summer. These new works take historical paintings and internet culture as their point of departure and utilize paint and digitally manipulated printed images to create hybridized portraits suffused with cultural and societal critiques. ?  

Allison Zuckerman – Stranger in Paradise Allison Zuckerman, the foundation's 2017 artist-in-residence, has created large format paintings and sculptures using the foundation’s main gallery as her studio this summer. These new works take historical paintings and internet culture as their point of departure and utilize paint and digitally manipulated printed images to create hybridized portraits suffused with cultural and societal critiques. ?