Art feed

Curated by Exhibitionary

Bettina Pousttchi
Bettina Pousttchi
Berlin - Charlottenstrasse 75
until 23-06-2018

Bettina Pousttchi – Avenue In the Buchmann Box Bettina Pousttchi (*1971 in Mainz, lives and works in Berlin) will be showing new sculptures under the title Allee / Avenue, which start out from the artist's engagement with public space and its structures.   Street furniture, in this case protective tree-barriers, have been brought into a mobile, dynamic form by means of mechanical bending, pressing and twisting. Arranged in pairs or small groups, the tree bars worked in this way are mounted into a sculpture whose volume emerges purely from lines. The functional objects can be recognized easily, even in their changed form, and therefore reconstruct the forces to which they have been subjected. The works cannot be denied the occasional anthropological reference, and so develop a dancerly and sequential quality in their mobility.    The moss or light green colour is reminiscent of camouflage or protective colouring, thus enhancing the optical merger of the individual parts into a self-contained form.   Bettina Pousttchi's works often refer to the urban and historical context of a given place. The artist recognizes latent possibilities in objects, places and situations and brings these to the fore in order to create something new; at the same time they reveal aspects of whatever they have been based upon, as Jeremy Stick from the Nasher Sculpture Center Dallas says in his essay “Urban Objects: The Sculpture of Bettina Pousttchi”. And he goes on to say: “Hers is an art where curiosity and imagination cross with research and deft manipulation, wherein the complex meanings of objects, places, and situations become a field for the artist's action.”    Since 2009 Bettina Pousttchi has been realizing monumental, site-specific interventions into buildings in public space, which refer to the historical and urban context of the respective structure. In 2009/2010 the artist realized the photo installation Echo across the full façade of the Temporary Kunsthalle in Berlin, which was a reminder of the Palace of the Republic demolished there only a short time before. At the Schirn Kunsthalle in 2012, her site-specific photo installation Framework could be seen on the windows of the rotunda and the east wing, so referencing the changes in Frankfurt inner city's urban and social context. For the monumental work The City Bettina Pousttchi covered the façade of Wolfsburg Palace with a photomontage of skyscrapers, which were each, at the time of their completion, the highest buildings in the world. She converted the Nasher Sculpture Center by Renzo Piano in Dallas into a Drive Thru Museum and so reacted to the specific setting of the museum, a former public car park, and to the social and urban structure of the city, which was constructed for automobiles.   Recently, works by the artist could be seen in a collaboration with Daniel Buren in Kunsthalle Mainz. In addition, over the last two years Bettina Pousttchi has enjoyed solo exhibitions in the Arts Club of Chicago, the Hirshhorn Museum and Sculpture Garden and the Phillips Collection, both in Washington D.C., as well as previously in the Nasher Sculpture Center Dallas. Kunstmuseum St.Gallen is currently showing a major presentation of new works by Bettina Pousttchi in the Lokremise.

Bettina Pousttchi – Avenue In the Buchmann Box Bettina Pousttchi (*1971 in Mainz, lives and works in Berlin) will be showing new sculptures under the title Allee / Avenue, which start out from the artist's engagement with public space and its structures.   Street furniture, in this case protective tree-barriers, have been brought into a mobile, dynamic form by means of mechanical bending, pressing and twisting. Arranged in pairs or small groups, the tree bars worked in this way are mounted into a sculpture whose volume emerges purely from lines. The functional objects can be recognized easily, even in their changed form, and therefore reconstruct the forces to which they have been subjected. The works cannot be denied the occasional anthropological reference, and so develop a dancerly and sequential quality in their mobility.    The moss or light green colour is reminiscent of camouflage or protective colouring, thus enhancing the optical merger of the individual parts into a self-contained form.   Bettina Pousttchi's works often refer to the urban and historical context of a given place. The artist recognizes latent possibilities in objects, places and situations and brings these to the fore in order to create something new; at the same time they reveal aspects of whatever they have been based upon, as Jeremy Stick from the Nasher Sculpture Center Dallas says in his essay “Urban Objects: The Sculpture of Bettina Pousttchi”. And he goes on to say: “Hers is an art where curiosity and imagination cross with research and deft manipulation, wherein the complex meanings of objects, places, and situations become a field for the artist's action.”    Since 2009 Bettina Pousttchi has been realizing monumental, site-specific interventions into buildings in public space, which refer to the historical and urban context of the respective structure. In 2009/2010 the artist realized the photo installation Echo across the full façade of the Temporary Kunsthalle in Berlin, which was a reminder of the Palace of the Republic demolished there only a short time before. At the Schirn Kunsthalle in 2012, her site-specific photo installation Framework could be seen on the windows of the rotunda and the east wing, so referencing the changes in Frankfurt inner city's urban and social context. For the monumental work The City Bettina Pousttchi covered the façade of Wolfsburg Palace with a photomontage of skyscrapers, which were each, at the time of their completion, the highest buildings in the world. She converted the Nasher Sculpture Center by Renzo Piano in Dallas into a Drive Thru Museum and so reacted to the specific setting of the museum, a former public car park, and to the social and urban structure of the city, which was constructed for automobiles.   Recently, works by the artist could be seen in a collaboration with Daniel Buren in Kunsthalle Mainz. In addition, over the last two years Bettina Pousttchi has enjoyed solo exhibitions in the Arts Club of Chicago, the Hirshhorn Museum and Sculpture Garden and the Phillips Collection, both in Washington D.C., as well as previously in the Nasher Sculpture Center Dallas. Kunstmuseum St.Gallen is currently showing a major presentation of new works by Bettina Pousttchi in the Lokremise.
Hans-Peter Feldmann
Hans-Peter Feldmann
Berlin - Fasanenstrasse 61
until 02-06-2018

Hans-Peter Feldmann For the occasion of the Berlin Gallery Weekend 2018, Galerie Mehdi Chouakri will present a solo exhibition of new work by Hans-Peter Feldmann (b. 1941, Düsseldorf, Germany).  

Hans-Peter Feldmann For the occasion of the Berlin Gallery Weekend 2018, Galerie Mehdi Chouakri will present a solo exhibition of new work by Hans-Peter Feldmann (b. 1941, Düsseldorf, Germany).  
Yu Honglei
Yu Honglei
Berlin - Kohlfurter Strasse 41/43
until 23-06-2018

Yu Honglei Kraupa-Tuskany Zeidler is pleased to announce the first solo exhibition of Yu Honglei with the gallery for Gallery Weekend Berlin 2018. The gallery will present new sculptures made of bronze and resin and a video installation. Yu Honglei (b. 1984) lives and works in Beijing. Yu Honglei draws upon wide visual vernacular from visual cultures of Chinese urban landscapes and poetry. Yu Honglei keenly observes the translation, transposition and circulation of images, by weaving through the physical and the digital realm of image production. In his interest in plasticity of cultural knowledge and aesthetics, what arises is a constellation of hermeneutic and polysemic output, executed through highly personal artistic discourse. Yu Honglei’s work has been showed internationally in Daimler Contemporary, Berlin (2017); ZKM Center for art and media, Karlsruhe, (2017); chi K11 Art Museum, Shanghai (2017); Carl Kostyál, London, (2017); Fondazione Baruchello, Rome (2017); Long March Space, Beijing, (2017); Antenna Space, Shanghai (2016); Upstream Gallery, Amsterdam (2016); M WOODS, Beijing (2015); Museo Pino Pascali, Polignano (2016); Telescope, Beijing (2015); Spring Workshop, Hong Kong (2015); Rubell Family Collection, San Antonio Museum of Art, Texas (2015); Minsheng Art Museum, Shanghai (2015); Magician Space, Beijing (2013).

Yu Honglei Kraupa-Tuskany Zeidler is pleased to announce the first solo exhibition of Yu Honglei with the gallery for Gallery Weekend Berlin 2018. The gallery will present new sculptures made of bronze and resin and a video installation. Yu Honglei (b. 1984) lives and works in Beijing. Yu Honglei draws upon wide visual vernacular from visual cultures of Chinese urban landscapes and poetry. Yu Honglei keenly observes the translation, transposition and circulation of images, by weaving through the physical and the digital realm of image production. In his interest in plasticity of cultural knowledge and aesthetics, what arises is a constellation of hermeneutic and polysemic output, executed through highly personal artistic discourse. Yu Honglei’s work has been showed internationally in Daimler Contemporary, Berlin (2017); ZKM Center for art and media, Karlsruhe, (2017); chi K11 Art Museum, Shanghai (2017); Carl Kostyál, London, (2017); Fondazione Baruchello, Rome (2017); Long March Space, Beijing, (2017); Antenna Space, Shanghai (2016); Upstream Gallery, Amsterdam (2016); M WOODS, Beijing (2015); Museo Pino Pascali, Polignano (2016); Telescope, Beijing (2015); Spring Workshop, Hong Kong (2015); Rubell Family Collection, San Antonio Museum of Art, Texas (2015); Minsheng Art Museum, Shanghai (2015); Magician Space, Beijing (2013).
Neolithic Childhood
Neolithic Childhood
Berlin - John-Foster-Dulles-Allee 10
until 09-07-2018

Neolithic Childhood. Art in a False Present, c. 1930 Jean (Hans) Arp, Willi Baumeister, Georges Braque, Claude Cahun, Maya Deren, Sergei Eisenstein, T. Lux Feininger, Max Ernst, Florence Henri, Hannah Höch, Heinrich Hoerle, Valentine Hugo, Paul Klee, Germaine Krull, André Masson, Richard Oelze, Wolfgang Paalen, Jean Painlevé, Alexandra Povòrina, Gaston-Louis Roux, Kurt Seligmann, Kalifala Sidibé, Jind?ich Štyrský, Toyen, Frits Van den Berghe, Paule Vézelay, Catherine Yarrow, and others Neolithic Childhood examines how in the interwar years the artistic avant-gardes in Europe and beyond reacted to the “crisis” of almost everything, from the barbarism of technological mass war to the hypocrisies of colonial discourse. The perceived need to re-establish European civilization after the disaster of the First World War led to an interminable reconstruction of origins and beginnings—making “ground zero” the limiting function of modernity. Based on the writings of the extra-academic art historian Carl Einstein (1885-1940), the exhibition is devoted to despair over the present and the pressing interest in “altering” humanity, as manifested from the 1920s to the 1940s in the artistic avant-gardes and the sciences. In addition to works of art, publications and archival materials will be presented that demonstrate the intensive interplay of the visual arts, politics, philosophy, ethnology, psychology, and the natural sciences in this epoch of historic turmoil and totalitarian projects. The title of the project, Neolithic Childhood, is based on a 1930 essay by Carl Einstein in which he interprets the pictorial symbols in Jean (Hans) Arp’s art as a repetition of children’s ritual, “prehistoric” play. The printed matter and archival materials included in the exhibition constitute the manifold material evidence of the diverse and active roles played by art, scholarship, and political theory in the perception and radicalization of the crises around 1930. In cooperation with the Akademie der Künste the Carl Einstein Archive, which is held there, has been fully digitized. Original manuscripts and typescripts from the Archive will be presented in the exhibition. The exhibition will include works by Jean (Hans) Arp, Willi Baumeister, Georges Braque, Claude Cahun, Maya Deren, Sergei Eisenstein, T. Lux Feininger, Max Ernst, Florence Henri, Hannah Höch, Heinrich Hoerle, Valentine Hugo, Paul Klee, Germaine Krull, André Masson, Richard Oelze, Wolfgang Paalen, Jean Painlevé, Alexandra Povòrina, Gaston-Louis Roux, Kurt Seligmann, Kalifala Sidibé, Jind?ich Štyrský, Toyen, Frits Van den Berghe, Paule Vézelay, Catherine Yarrow, and others. A comprehensive, richly illustrated reader will be published on occasion of the accompanying conference in late May 2018. The authors include Irene Albers, Philipp Albers, Joyce Cheng, Rosa Eidelpes, Anselm Franke, Charles W. Haxthausen, Tom Holert, Clemens Krümmel, Sven Lütticken, Jenny Nachtigall, David Quigley, Cornelius Reiber, Erhard Schüttpelz, Kerstin Stakemeier, Maria Stavrinaki, Elena Vogman, Zairong Xiang, and Sebastian Zeidler. Curated by Anselm Franke and Tom Holert. Advisory board: Irene Albers, Jenny Nachtigall, and Kerstin Stakemeier.

Neolithic Childhood. Art in a False Present, c. 1930 Jean (Hans) Arp, Willi Baumeister, Georges Braque, Claude Cahun, Maya Deren, Sergei Eisenstein, T. Lux Feininger, Max Ernst, Florence Henri, Hannah Höch, Heinrich Hoerle, Valentine Hugo, Paul Klee, Germaine Krull, André Masson, Richard Oelze, Wolfgang Paalen, Jean Painlevé, Alexandra Povòrina, Gaston-Louis Roux, Kurt Seligmann, Kalifala Sidibé, Jind?ich Štyrský, Toyen, Frits Van den Berghe, Paule Vézelay, Catherine Yarrow, and others Neolithic Childhood examines how in the interwar years the artistic avant-gardes in Europe and beyond reacted to the “crisis” of almost everything, from the barbarism of technological mass war to the hypocrisies of colonial discourse. The perceived need to re-establish European civilization after the disaster of the First World War led to an interminable reconstruction of origins and beginnings—making “ground zero” the limiting function of modernity. Based on the writings of the extra-academic art historian Carl Einstein (1885-1940), the exhibition is devoted to despair over the present and the pressing interest in “altering” humanity, as manifested from the 1920s to the 1940s in the artistic avant-gardes and the sciences. In addition to works of art, publications and archival materials will be presented that demonstrate the intensive interplay of the visual arts, politics, philosophy, ethnology, psychology, and the natural sciences in this epoch of historic turmoil and totalitarian projects. The title of the project, Neolithic Childhood, is based on a 1930 essay by Carl Einstein in which he interprets the pictorial symbols in Jean (Hans) Arp’s art as a repetition of children’s ritual, “prehistoric” play. The printed matter and archival materials included in the exhibition constitute the manifold material evidence of the diverse and active roles played by art, scholarship, and political theory in the perception and radicalization of the crises around 1930. In cooperation with the Akademie der Künste the Carl Einstein Archive, which is held there, has been fully digitized. Original manuscripts and typescripts from the Archive will be presented in the exhibition. The exhibition will include works by Jean (Hans) Arp, Willi Baumeister, Georges Braque, Claude Cahun, Maya Deren, Sergei Eisenstein, T. Lux Feininger, Max Ernst, Florence Henri, Hannah Höch, Heinrich Hoerle, Valentine Hugo, Paul Klee, Germaine Krull, André Masson, Richard Oelze, Wolfgang Paalen, Jean Painlevé, Alexandra Povòrina, Gaston-Louis Roux, Kurt Seligmann, Kalifala Sidibé, Jind?ich Štyrský, Toyen, Frits Van den Berghe, Paule Vézelay, Catherine Yarrow, and others. A comprehensive, richly illustrated reader will be published on occasion of the accompanying conference in late May 2018. The authors include Irene Albers, Philipp Albers, Joyce Cheng, Rosa Eidelpes, Anselm Franke, Charles W. Haxthausen, Tom Holert, Clemens Krümmel, Sven Lütticken, Jenny Nachtigall, David Quigley, Cornelius Reiber, Erhard Schüttpelz, Kerstin Stakemeier, Maria Stavrinaki, Elena Vogman, Zairong Xiang, and Sebastian Zeidler. Curated by Anselm Franke and Tom Holert. Advisory board: Irene Albers, Jenny Nachtigall, and Kerstin Stakemeier.
Thomas Struth
Thomas Struth
Berlin - Kurfürstendamm 213
until 02-06-2018

Thomas Struth Galerie Max Hetzler is pleased to announce two upcoming exhibitions with new works by Thomas Struth at Bleibtreustraße 45 and our temporary space at Kurfu?rstendamm 213 (open on Saturdays, 11am- 4pm and by appointment). The centre of Thomas Struth's exhibition at Galerie Max Hetzler is formed by a new series of works that was developed during the last months at the Leibniz Institute for Zoological and Wildlife Research in Berlin. The institute researches evolutionary developments and adaptions of animals, especially with regards to a humanly modified environment. The examination of naturally deceased wildlife bodies marks an important part of the institute's studies. In his works, Struth approaches these particular bodies in a sensitive and dignified manner. Despite the unnatural posture and occasional wounds that reveal their actual condition, the depicted animals almost seem to be asleep. These cautious portraits not only show an unusual perspective and rare proximity onto familiar species but due to their central and focussed perspective also bring to mind manmade projections – attributes from myths and tales – surrounding these animals. Akin a memento mori, these photographs remind of our transitory nature and the fragility of life. The motif of the laboratory space already appears in previous series of Struth's oeuvre – mostly in form of a highly complex, abstract and inaccessible place of science and innovation. It is the seemingly pristine, natural element of the carcass in a clinical, sterile surrounding that builds a distinct contrast in the present works, and unites recurring topics of Struth's practices, such as mortality, progress, technology and illusion. The exhibition therefore further presents new works from Struth's series of places of industrial and scientific progress. Here, he approaches the complexity of technical developments and enables an insight into usually unaccessible areas. Meaning and function of the depicted often remain unclear but the highly evolved machines and seemingly futuristic devices from research, medicine and industry elicit a deep fascination for the possibilities of human inventions. At the same time, Galerie Max Hetzler presents the solo exhibition LADI ROGEURS: SIR LOUDRAGE – a still life by Loris Gre?aud at Goethestraße 2/3. Thomas Struth (*1954, Geldern) lives and works in Berlin. Since 1987, Struth has been exhibiting regularly at Galerie Max Hetzler. His comprehensive solo exhibition Nature & Politics was inaugurated in 2016 at Museum Folkwang, Essen, and traveled to Martin-Gropius-Bau, Berlin; High Museum, Atlanta; Moody Center for the Arts, Houston and finally to the Saint Louis Art Museum. Further important solo exhibitions took place at Haus der Kunst, Munich (2017); Metropolitan Museum of Art, New York (2014 and 2003); Kunsthaus Zu?rich, Zurich; Museu Serralves, Porto; Whitechapel Gallery, London; K20, Du?sseldorf (all in 2011); Museo del Prado, Madrid (2007); Museum of Contemporary Art, Chicago (2003); Museum of Contemporary Art, Los Angeles and Dallas Museum of Art (2002). Currently, his work is presented at the Aspen Art Museum until 10 June 2018.  

Thomas Struth Galerie Max Hetzler is pleased to announce two upcoming exhibitions with new works by Thomas Struth at Bleibtreustraße 45 and our temporary space at Kurfu?rstendamm 213 (open on Saturdays, 11am- 4pm and by appointment). The centre of Thomas Struth's exhibition at Galerie Max Hetzler is formed by a new series of works that was developed during the last months at the Leibniz Institute for Zoological and Wildlife Research in Berlin. The institute researches evolutionary developments and adaptions of animals, especially with regards to a humanly modified environment. The examination of naturally deceased wildlife bodies marks an important part of the institute's studies. In his works, Struth approaches these particular bodies in a sensitive and dignified manner. Despite the unnatural posture and occasional wounds that reveal their actual condition, the depicted animals almost seem to be asleep. These cautious portraits not only show an unusual perspective and rare proximity onto familiar species but due to their central and focussed perspective also bring to mind manmade projections – attributes from myths and tales – surrounding these animals. Akin a memento mori, these photographs remind of our transitory nature and the fragility of life. The motif of the laboratory space already appears in previous series of Struth's oeuvre – mostly in form of a highly complex, abstract and inaccessible place of science and innovation. It is the seemingly pristine, natural element of the carcass in a clinical, sterile surrounding that builds a distinct contrast in the present works, and unites recurring topics of Struth's practices, such as mortality, progress, technology and illusion. The exhibition therefore further presents new works from Struth's series of places of industrial and scientific progress. Here, he approaches the complexity of technical developments and enables an insight into usually unaccessible areas. Meaning and function of the depicted often remain unclear but the highly evolved machines and seemingly futuristic devices from research, medicine and industry elicit a deep fascination for the possibilities of human inventions. At the same time, Galerie Max Hetzler presents the solo exhibition LADI ROGEURS: SIR LOUDRAGE – a still life by Loris Gre?aud at Goethestraße 2/3. Thomas Struth (*1954, Geldern) lives and works in Berlin. Since 1987, Struth has been exhibiting regularly at Galerie Max Hetzler. His comprehensive solo exhibition Nature & Politics was inaugurated in 2016 at Museum Folkwang, Essen, and traveled to Martin-Gropius-Bau, Berlin; High Museum, Atlanta; Moody Center for the Arts, Houston and finally to the Saint Louis Art Museum. Further important solo exhibitions took place at Haus der Kunst, Munich (2017); Metropolitan Museum of Art, New York (2014 and 2003); Kunsthaus Zu?rich, Zurich; Museu Serralves, Porto; Whitechapel Gallery, London; K20, Du?sseldorf (all in 2011); Museo del Prado, Madrid (2007); Museum of Contemporary Art, Chicago (2003); Museum of Contemporary Art, Los Angeles and Dallas Museum of Art (2002). Currently, his work is presented at the Aspen Art Museum until 10 June 2018.  
Sven Johne
Sven Johne
Berlin - Prinzessinnenstrasse 29
until 09-06-2018

Sven Johne – Dear Vladimir Putin | I am the power  

Sven Johne – Dear Vladimir Putin | I am the power  
Ed Atkins
Ed Atkins
London - 132 Tyers Street
until 02-06-2018

Ed Atkins – Olde Food  

Ed Atkins – Olde Food  
Joan Jonas
Joan Jonas
London - Bankside
until 05-08-2018

Joan Jonas Hero to a generation of younger artists, Joan Jonas is a pioneer of performance and video who has pushed the boundaries of art for the last five decades. Experience the largest exhibition of Jonas’s work ever held in the UK. Early works from the late 1960s are shown alongside recent installations dealing with topical themes such as climate change and extinction. You can see her landmark installations including Lines in the Sand, The Juniper Tree and Reanimation. For the first time at Tate Modern, a single artist’s work is explored in the exhibition galleries, and in film screenings in the Starr Cinema and installations in the Tanks – an experimental exhibition for an experimental artist. Joan Jonas will also perform live alongside other artists as part of the BMW Tate Live Exhibition: Ten Days Six Nights programme.  

Joan Jonas Hero to a generation of younger artists, Joan Jonas is a pioneer of performance and video who has pushed the boundaries of art for the last five decades. Experience the largest exhibition of Jonas’s work ever held in the UK. Early works from the late 1960s are shown alongside recent installations dealing with topical themes such as climate change and extinction. You can see her landmark installations including Lines in the Sand, The Juniper Tree and Reanimation. For the first time at Tate Modern, a single artist’s work is explored in the exhibition galleries, and in film screenings in the Starr Cinema and installations in the Tanks – an experimental exhibition for an experimental artist. Joan Jonas will also perform live alongside other artists as part of the BMW Tate Live Exhibition: Ten Days Six Nights programme.  
Ned Vena
Ned Vena
London - 26 Holborn Viaduct, Morley House, 3rd Floor
until 16-06-2018

Ned Vena – Facts Project Native Informant is pleased to present New York-based artist Ned Vena’s second solo exhibition, FACTS. Building on his most recent presentation with the gallery during CONDO London in January 2018, Vena presents a suite of six new paintings, all 60 1/4 x 48 x 1 3/8”. Departing from friezes of his own tattoos, the works depict the act of tattooing itself: a leg or a top of a hand belonging to Vena, his wife or a friend. The images vary from close-ups of the tattooer’s latex covered hands, to images of the tattoo parlor and the tools of the trade—rolls of plastic wrap, bottles of ink, etc. UV printing introduced the concept that any flat surface can be printed on. In the paintings onview, an image is printed onto a piece of linen primed with acrylic gesso. This initial printing is then followed by a painting that covers an area of the printing, which is then reprinted with croppedimages made from the original digital file. The cropped images cover the painting and repeated until the painting is finished, producing layers of printing and painting. Areas of mistake, overlap,mis-registration, transparency and errant paint application previously used by artists to engage in an idea of painterly gesture, appear through a digital application, but according to the exacting precision necessitated by digital technology. For the first time, Vena plays with spatial dimension both in formal concepts of layering as well asin a classical sense of foreground and background. Moreover the paintings are hung side by side as if in continuum or invoking narrative. The placement suggests a structuring of a life or livesthey depict, as much as underlining the specificity of each painting, each charged with a meaningyet to be fully consumed.  

Ned Vena – Facts Project Native Informant is pleased to present New York-based artist Ned Vena’s second solo exhibition, FACTS. Building on his most recent presentation with the gallery during CONDO London in January 2018, Vena presents a suite of six new paintings, all 60 1/4 x 48 x 1 3/8”. Departing from friezes of his own tattoos, the works depict the act of tattooing itself: a leg or a top of a hand belonging to Vena, his wife or a friend. The images vary from close-ups of the tattooer’s latex covered hands, to images of the tattoo parlor and the tools of the trade—rolls of plastic wrap, bottles of ink, etc. UV printing introduced the concept that any flat surface can be printed on. In the paintings onview, an image is printed onto a piece of linen primed with acrylic gesso. This initial printing is then followed by a painting that covers an area of the printing, which is then reprinted with croppedimages made from the original digital file. The cropped images cover the painting and repeated until the painting is finished, producing layers of printing and painting. Areas of mistake, overlap,mis-registration, transparency and errant paint application previously used by artists to engage in an idea of painterly gesture, appear through a digital application, but according to the exacting precision necessitated by digital technology. For the first time, Vena plays with spatial dimension both in formal concepts of layering as well asin a classical sense of foreground and background. Moreover the paintings are hung side by side as if in continuum or invoking narrative. The placement suggests a structuring of a life or livesthey depict, as much as underlining the specificity of each painting, each charged with a meaningyet to be fully consumed.  
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.  
Martha Rosler & Hito Steyerl
Martha Rosler & Hito Steyerl
Basel - St. Alban-Graben 8
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.  
Raimer Jochims
Raimer Jochims
Basel - Rosentalstrasse 28
until 30-06-2018

Raimer Jochims For over 50 years, Raimer Jochims has remained committed to painting contemplative, process-based abstractions. His mature work has evolved from his participation in monochromatic and optical painting movements in the 1960s and 70s. Started in 1973, his uniquely shaped paintings originate from studied observations of shapes found within wide ranging source materials such as Buddha statues, Polynesian ancestor figures, Aztec pottery vessels, Egyptian sculptures, and Chinese paintings. He deftly uses small traces of the sources’ forms to make new autonomous works without any obvious references to their origins. Ignoring their historical and geographical differences, his approach assimilates the resulting shapes into innovative abstract statements. Jochims manipulates his painting supports as much as the surface itself. He contemplates each shape and selectively activates its edges by chipping the wood with tongs. Jochims then patiently chooses color gradations that seem to belong to the shape’s demand: some shift quickly and dramatically, while others dissolve slowly and subtly. He later adds an open-ended title that does not necessarily relate back directly to his source material but may trigger other associations such as cities, ancient cultures, influential artists, and mythical beings. Finally, he selectively chooses the placement and hanging height of each individual work according to their color, visual weight, and direction. With a distinctive methodology, Jochims creates new autonomous pictorial forms with their own intricacies and self-reflexive logic. — John McKinnon, The Art Institute of Chicago, 2015  

Raimer Jochims For over 50 years, Raimer Jochims has remained committed to painting contemplative, process-based abstractions. His mature work has evolved from his participation in monochromatic and optical painting movements in the 1960s and 70s. Started in 1973, his uniquely shaped paintings originate from studied observations of shapes found within wide ranging source materials such as Buddha statues, Polynesian ancestor figures, Aztec pottery vessels, Egyptian sculptures, and Chinese paintings. He deftly uses small traces of the sources’ forms to make new autonomous works without any obvious references to their origins. Ignoring their historical and geographical differences, his approach assimilates the resulting shapes into innovative abstract statements. Jochims manipulates his painting supports as much as the surface itself. He contemplates each shape and selectively activates its edges by chipping the wood with tongs. Jochims then patiently chooses color gradations that seem to belong to the shape’s demand: some shift quickly and dramatically, while others dissolve slowly and subtly. He later adds an open-ended title that does not necessarily relate back directly to his source material but may trigger other associations such as cities, ancient cultures, influential artists, and mythical beings. Finally, he selectively chooses the placement and hanging height of each individual work according to their color, visual weight, and direction. With a distinctive methodology, Jochims creates new autonomous pictorial forms with their own intricacies and self-reflexive logic. — John McKinnon, The Art Institute of Chicago, 2015  
Ragnar Kjartansson
Ragnar Kjartansson
Beijing - 2 Jiuxuanquao Road
until 05-08-2018

Ragnar Kjartansson – A Lot of Sorrow Faurschou Foundation Beijing has the pleasure of presenting A Lot of Sorrow — a video performance by the Icelandic artist, Ragnar Kjartansson. The work, A Lot of Sorrow, is a single channel video, showing a six-hour long concert by the British band, The National. The band performs their song, Sorrow, repeatedly, in an uninterrupted loop. First performed at MoMA PS1 in 2013 as a live concert, the piece is an impressive demonstration of perseverance and strength-both physically and mentally. As a reproduction in the form of a video installation, the visitors are able to experience the struggles and emotions the band members undergo throughout the performance. Depending on what stage of the performance the band is in, the audience will notice different states of energy, emotion, exhaustion, rejuvenation and relief. Each version of the song is, thus, unique; Each time the installation is visited or re-visited, the audience is met with a new experience, depending on their own state of mind, and the time of the performance. It is the first time that a work by Ragnar Kjartansson is exhibited in China, and Faurschou Foundation is honoured to introduce his powerful performance video for the first time in East-Asia. Ragnar Kjartansson has explained that his works are "always about a feeling, but there's no story." He works with repetition to explore the tragicomic in simple situations, through and beyond the boring, combining sorrow and happiness, horror and beauty, drama and levity. His works are often conducted as performances and video installations, but incorporate the entire spectrum of the arts; music, film, classical theatre and literature. Kjartansson was raised in an environment of theatre and music, and combines this world with his observations of people, who — as the artist concludes — ultimately fail to reach perfection, despite endless repetition. Ragnar Kjartansson (b. 1976) lives and works in Reykjavík. The artist has had solo exhibitions at the Reykjavík Art Museum, the Barbican Centre, London, the Hirshhorn Museum and Sculpture Park, Washington D.C., the Musée d'art contemporain de Montréal, the Palais de Tokyo, Paris, the New Museum, New York, the Migros Museum für Gegenwartskunst, Zurich, the Fondazione Sandretto Re Rebaudengo, Turin, the Frankfurter Kunstverein, and the BAWAG Contemporary, Vienna.  Kjartansson participated in The Encyclopedic Palace at the Venice Biennale in 2013, Manifesta 10 in St. Petersburg, Russia in 2014, and he represented Iceland at the 2009 Venice Biennale. The artist is the recipient of the 2015 Artes Mundi's Derek Williams Trust Purchase Award, and Performa's 2011 Malcolm McLaren Award.  

Ragnar Kjartansson – A Lot of Sorrow Faurschou Foundation Beijing has the pleasure of presenting A Lot of Sorrow — a video performance by the Icelandic artist, Ragnar Kjartansson. The work, A Lot of Sorrow, is a single channel video, showing a six-hour long concert by the British band, The National. The band performs their song, Sorrow, repeatedly, in an uninterrupted loop. First performed at MoMA PS1 in 2013 as a live concert, the piece is an impressive demonstration of perseverance and strength-both physically and mentally. As a reproduction in the form of a video installation, the visitors are able to experience the struggles and emotions the band members undergo throughout the performance. Depending on what stage of the performance the band is in, the audience will notice different states of energy, emotion, exhaustion, rejuvenation and relief. Each version of the song is, thus, unique; Each time the installation is visited or re-visited, the audience is met with a new experience, depending on their own state of mind, and the time of the performance. It is the first time that a work by Ragnar Kjartansson is exhibited in China, and Faurschou Foundation is honoured to introduce his powerful performance video for the first time in East-Asia. Ragnar Kjartansson has explained that his works are "always about a feeling, but there's no story." He works with repetition to explore the tragicomic in simple situations, through and beyond the boring, combining sorrow and happiness, horror and beauty, drama and levity. His works are often conducted as performances and video installations, but incorporate the entire spectrum of the arts; music, film, classical theatre and literature. Kjartansson was raised in an environment of theatre and music, and combines this world with his observations of people, who — as the artist concludes — ultimately fail to reach perfection, despite endless repetition. Ragnar Kjartansson (b. 1976) lives and works in Reykjavík. The artist has had solo exhibitions at the Reykjavík Art Museum, the Barbican Centre, London, the Hirshhorn Museum and Sculpture Park, Washington D.C., the Musée d'art contemporain de Montréal, the Palais de Tokyo, Paris, the New Museum, New York, the Migros Museum für Gegenwartskunst, Zurich, the Fondazione Sandretto Re Rebaudengo, Turin, the Frankfurter Kunstverein, and the BAWAG Contemporary, Vienna.  Kjartansson participated in The Encyclopedic Palace at the Venice Biennale in 2013, Manifesta 10 in St. Petersburg, Russia in 2014, and he represented Iceland at the 2009 Venice Biennale. The artist is the recipient of the 2015 Artes Mundi's Derek Williams Trust Purchase Award, and Performa's 2011 Malcolm McLaren Award.  
Carsten Höller
Carsten Höller
Beijing - Jiuxianqiao Road
until 02-06-2018

Carsten Höller – Method Galleria Continua is pleased to present Method, an exhibition of new and recent works by Carsten Ho?ller. To inhabit the world is to divide it. For Carsten Ho?ller, this is not so much a political fact as a mathematical reality. Fascinated by partition principles, the artist, who received his training in the natural sciences, explores how lines cut through surfaces and incessantly yield captivating new shapes. In Divisions (Sphere and Carpet), the first line divides the carpet into two parts of the same size, and every following line further divides the subsequent squares of one divided part into equal halves. Ho?ller’s discourse on method is an eminently practical and productive one, giving rise to infinite shades of colour and a panoply of geometrical objects. In Divisions Circle (White Lines on Carmine-red and White Background), white dots placed at strategic intersections open up ever- new subdivisions. The video work Punktefilm reveals that twenty-four dots in motion suffice to capture the flowing movements of a dancing couple. As the dots disappear one by one, the artist challenges the audience to question the foundations and the limits of their own perception. How do we divide the world to make sense of it? And is giving form and meaning to an inchoate mass of sensory data not tantamount to filling in the dark blanks of ignorance between the few luminous spots of serendipity? With its two live canaries in spherical cages revolving around a central axis, the new work Circle Division Canary Mobile (Black) even seems to suggest that life itself follows the logic of an endlessly continuing division that both separates and brings into contact. Yet far from merely observing nature, the scientific mindset continuously transforms it. Science intrudes upon nature, while also competing with it, as evidenced in Birds, a series of two-colored engravings on paper. All birds depicted were bred in captivity; the natural world has never been their habitat, which, like their very existence, is entirely the product of man-made activities. By printing the engravings at a midpoint between color and black and white, Ho?ller articulates the brittle status of these bird hybrids, halfway between nature and culture and not fully belonging to either. If Ho?ller astutely multiplies divisions, he also relishes exploding binary oppositions when they threaten to stymie his inquisitive investigations. In Decimal Clock (White and Pink), Ho?ller’s rationalist instincts turn to the division of time. The functional clock, accounting for 10 hours, 100 minutes and 100 seconds, reminds us that the global homogenization of time occurred only recently as a response to the unprecedented degree of planetary interconnectedness. Decimal Clock (White and Pink) gestures towards experiments with decimal time during the French Revolution and pays tribute to efforts aiming at temporal comparability and regularity. Yet it also acknowledges various non-Western ways of measuring time and, rather than seeing them as a threat to the empire of reason, celebrates them as an enriching expression of the diversity of our existence in time. Ho?ller’s rules for the direction of the mind draw on an expanded concept of insight and discovery. The geometer and the laboratory engineer are only two of the artist’s many incarnations. His quest for knowledge also relies on a psychedelic epistemology: altered states of mind that can enhance our understanding of the world. For Ho?ller, mushrooms embody these sensory journeys, not just because of their supposedly ‘magic’ effects but also because of their complex structure, much of it underground, which sparks the curiosity of this artistic researcher. The polyester Giant Triple Mushroom stands as a towering testament to the wonder felt at those living, meandering organisms science has still not understood. Ho?ller’s enlarged mushroom replicas brim with an Alice-in-Wonderland-like excitement over the brightly-colored worlds to which they give access. A passionate classifier, Ho?ller reintegrates even the mind-expanding fungal universe into a scholarly order of things, as he demonstrates in Double Mushroom Vitrine (Twenty- Fourfold), a meticulously arranged visual taxonomy with a twist: Upon closer inspection, each mushroom specimen turns out to be a montage, with one half representing a variety of wild mushroom and the other the fly agaric known for its poisonous and psychoactive properties. On full display here is the mischievously subversive wit that is one of the indispensable instruments in Ho?ller’s artistic laboratory. The Soma series – each setting composed of representations of a reindeer, a female model, and a fresh fly agaric mushrooms –alludes to the mythical substance mentioned in the Vedic writings. Both a gateway to the world of the gods and a source of spiritual Enlightenment, soma was said to be a crucial component of the ritualistic practices of the Vedic people. Humankind, however, forgot about the plant, which can no longer be identified (even though some believed the Vedic ritualists relied on the fly agaric mushroom to open the doors of their perception). With this series, the artist points to an elective affinity between the researcher and the sage. In the medium of art at least, a reconciliation of modern science and ancient wisdom appears tantalizingly within reach. Ho?ller gives us the Method. Carsten Ho?ller was born in 1961 in Brussels, Belgium and lives in Stockholm, Sweden and Biriwa, Ghana. Collections include Museum of Modern Art, New York; Tate, London; Stedelijk Museum voor Actuele Kunst, Belgium; Muse?e d’Art Contemporain Lyon, France; Museum fu?r Moderne Kunst, Frankfurt; Fondazione Prada, Milan; Cal Cego – Coleccio?n de Arte Contempora?neo, Barcelona; PinchukArtCentre, Ukraine; and 21st Century Museum of Contemporary Art, Japan. Institutional exhibitions include the 50th Biennale di Venezia (2003); “One Day One Day”, Fa?rgfabriken, Stockholm (2003); 7th Biennale de Lyon (2003); “Carsten Ho?ller: Half Fiction”, Institute of Contemporary Art, Boston (2003); “7,8 Hz”, Le Consortium, France (2004); “Une exposition a? Marseille”, Muse?e d'Art Contemporain, Marseille (2004); 51st Biennale di Venezia (2005); “Carsten Ho?ller: Test Site”, Tate Modern, London (2006); “Amusement Park”, MASS MoCA, North Adams, MA (2006); “Carrousel”, Kunsthaus Bregenz, Austria (2008); “The Double Club”, Fondazione Prada, London (2008); 28th Bienal de Sa?o Paulo (2008); “Double Slide”, Museum of Contemporary Art, Croatia (2009); 53th Biennale di Venezia (2009); 8th Gwangju Biennale (2010); “Divided Divided”, Museum Boijmans van Beuningen, Rotterdam (2010); “Soma”, Hamburger Bahnhof, Museum fu?r Gegenwart, Berlin (2010); “Carsten Ho?ller: Double Carousel with Zo?llner Stripes”, MACRO- Museo d’Arte Contemporanea Roma, Italy (2011); “Carsten Ho?ller: Experience”, New Museum of Contemporary Art, New York (2011); 11th Sharjah Biennale (2013); “LEBEN”, Thyssen-Bornemisza Art Contemporary, Vienna (2014); 8th Berlin Biennial for Contemporary Art (2014); 10th Gwangju Biennale (2014); “Golden Mirror Carousel”, National Gallery of Victoria, Melbourne (2014–15); 56th Biennale di Venezia (2015); “Carsten Ho?ller: Decision”, Hayward Gallery, London (2015); and “Doubt”, Pirelli HangarBicocca, Milan (2016). Henie Onstad Kunstsenter, Høvikodden, Norway (2017), “Reason” at Gagosian Gallery, New York City, United States (2017). Y. Centro Botin, Santander, Spain (2017). Miami ArtBasel, “Prada Double Club Miami”, with Fondazione Prada, Milan. Miami, United States (2017).  

Carsten Höller – Method Galleria Continua is pleased to present Method, an exhibition of new and recent works by Carsten Ho?ller. To inhabit the world is to divide it. For Carsten Ho?ller, this is not so much a political fact as a mathematical reality. Fascinated by partition principles, the artist, who received his training in the natural sciences, explores how lines cut through surfaces and incessantly yield captivating new shapes. In Divisions (Sphere and Carpet), the first line divides the carpet into two parts of the same size, and every following line further divides the subsequent squares of one divided part into equal halves. Ho?ller’s discourse on method is an eminently practical and productive one, giving rise to infinite shades of colour and a panoply of geometrical objects. In Divisions Circle (White Lines on Carmine-red and White Background), white dots placed at strategic intersections open up ever- new subdivisions. The video work Punktefilm reveals that twenty-four dots in motion suffice to capture the flowing movements of a dancing couple. As the dots disappear one by one, the artist challenges the audience to question the foundations and the limits of their own perception. How do we divide the world to make sense of it? And is giving form and meaning to an inchoate mass of sensory data not tantamount to filling in the dark blanks of ignorance between the few luminous spots of serendipity? With its two live canaries in spherical cages revolving around a central axis, the new work Circle Division Canary Mobile (Black) even seems to suggest that life itself follows the logic of an endlessly continuing division that both separates and brings into contact. Yet far from merely observing nature, the scientific mindset continuously transforms it. Science intrudes upon nature, while also competing with it, as evidenced in Birds, a series of two-colored engravings on paper. All birds depicted were bred in captivity; the natural world has never been their habitat, which, like their very existence, is entirely the product of man-made activities. By printing the engravings at a midpoint between color and black and white, Ho?ller articulates the brittle status of these bird hybrids, halfway between nature and culture and not fully belonging to either. If Ho?ller astutely multiplies divisions, he also relishes exploding binary oppositions when they threaten to stymie his inquisitive investigations. In Decimal Clock (White and Pink), Ho?ller’s rationalist instincts turn to the division of time. The functional clock, accounting for 10 hours, 100 minutes and 100 seconds, reminds us that the global homogenization of time occurred only recently as a response to the unprecedented degree of planetary interconnectedness. Decimal Clock (White and Pink) gestures towards experiments with decimal time during the French Revolution and pays tribute to efforts aiming at temporal comparability and regularity. Yet it also acknowledges various non-Western ways of measuring time and, rather than seeing them as a threat to the empire of reason, celebrates them as an enriching expression of the diversity of our existence in time. Ho?ller’s rules for the direction of the mind draw on an expanded concept of insight and discovery. The geometer and the laboratory engineer are only two of the artist’s many incarnations. His quest for knowledge also relies on a psychedelic epistemology: altered states of mind that can enhance our understanding of the world. For Ho?ller, mushrooms embody these sensory journeys, not just because of their supposedly ‘magic’ effects but also because of their complex structure, much of it underground, which sparks the curiosity of this artistic researcher. The polyester Giant Triple Mushroom stands as a towering testament to the wonder felt at those living, meandering organisms science has still not understood. Ho?ller’s enlarged mushroom replicas brim with an Alice-in-Wonderland-like excitement over the brightly-colored worlds to which they give access. A passionate classifier, Ho?ller reintegrates even the mind-expanding fungal universe into a scholarly order of things, as he demonstrates in Double Mushroom Vitrine (Twenty- Fourfold), a meticulously arranged visual taxonomy with a twist: Upon closer inspection, each mushroom specimen turns out to be a montage, with one half representing a variety of wild mushroom and the other the fly agaric known for its poisonous and psychoactive properties. On full display here is the mischievously subversive wit that is one of the indispensable instruments in Ho?ller’s artistic laboratory. The Soma series – each setting composed of representations of a reindeer, a female model, and a fresh fly agaric mushrooms –alludes to the mythical substance mentioned in the Vedic writings. Both a gateway to the world of the gods and a source of spiritual Enlightenment, soma was said to be a crucial component of the ritualistic practices of the Vedic people. Humankind, however, forgot about the plant, which can no longer be identified (even though some believed the Vedic ritualists relied on the fly agaric mushroom to open the doors of their perception). With this series, the artist points to an elective affinity between the researcher and the sage. In the medium of art at least, a reconciliation of modern science and ancient wisdom appears tantalizingly within reach. Ho?ller gives us the Method. Carsten Ho?ller was born in 1961 in Brussels, Belgium and lives in Stockholm, Sweden and Biriwa, Ghana. Collections include Museum of Modern Art, New York; Tate, London; Stedelijk Museum voor Actuele Kunst, Belgium; Muse?e d’Art Contemporain Lyon, France; Museum fu?r Moderne Kunst, Frankfurt; Fondazione Prada, Milan; Cal Cego – Coleccio?n de Arte Contempora?neo, Barcelona; PinchukArtCentre, Ukraine; and 21st Century Museum of Contemporary Art, Japan. Institutional exhibitions include the 50th Biennale di Venezia (2003); “One Day One Day”, Fa?rgfabriken, Stockholm (2003); 7th Biennale de Lyon (2003); “Carsten Ho?ller: Half Fiction”, Institute of Contemporary Art, Boston (2003); “7,8 Hz”, Le Consortium, France (2004); “Une exposition a? Marseille”, Muse?e d'Art Contemporain, Marseille (2004); 51st Biennale di Venezia (2005); “Carsten Ho?ller: Test Site”, Tate Modern, London (2006); “Amusement Park”, MASS MoCA, North Adams, MA (2006); “Carrousel”, Kunsthaus Bregenz, Austria (2008); “The Double Club”, Fondazione Prada, London (2008); 28th Bienal de Sa?o Paulo (2008); “Double Slide”, Museum of Contemporary Art, Croatia (2009); 53th Biennale di Venezia (2009); 8th Gwangju Biennale (2010); “Divided Divided”, Museum Boijmans van Beuningen, Rotterdam (2010); “Soma”, Hamburger Bahnhof, Museum fu?r Gegenwart, Berlin (2010); “Carsten Ho?ller: Double Carousel with Zo?llner Stripes”, MACRO- Museo d’Arte Contemporanea Roma, Italy (2011); “Carsten Ho?ller: Experience”, New Museum of Contemporary Art, New York (2011); 11th Sharjah Biennale (2013); “LEBEN”, Thyssen-Bornemisza Art Contemporary, Vienna (2014); 8th Berlin Biennial for Contemporary Art (2014); 10th Gwangju Biennale (2014); “Golden Mirror Carousel”, National Gallery of Victoria, Melbourne (2014–15); 56th Biennale di Venezia (2015); “Carsten Ho?ller: Decision”, Hayward Gallery, London (2015); and “Doubt”, Pirelli HangarBicocca, Milan (2016). Henie Onstad Kunstsenter, Høvikodden, Norway (2017), “Reason” at Gagosian Gallery, New York City, United States (2017). Y. Centro Botin, Santander, Spain (2017). Miami ArtBasel, “Prada Double Club Miami”, with Fondazione Prada, Milan. Miami, United States (2017).  
Sarah Morris
Sarah Morris
Beijing - Jiuxianqiao Road
until 17-06-2018

Sarah Morris – Odysseus Factor From March 24 to June 17, UCCA presents Sarah Morris: Odysseus Factor. This marks the first exhibition of the artist’s entire filmic output anywhere in the world, set within a vast installation comprised of paintings, drawings and a monumental wall painting specially devised for the Great Hall. The 14 films on view offer open ended explorations of space that emerge through a democratic overview of their architectures, protagonists, situations, and processes, shown at UCCA in a sequence of custom-built spaces arrayed throughout the former factory chamber of the Great Hall. The title of the exhibition might be understood as a reference to Morris’s creative trajectory, which can be divided into several ten-year periods—the same amount of time the Trojan war lasted, and the exact number of years that it took Odysseus to sail home to Ithaca. Morris debuted her first film, Midtown, in 1998, went on to shoot Beijing in 2008, and now returns, in 2018, to the city which inspired both the film and several of her paintings. Her artistic process, too, is Odyssean, involving journeys to multiple countries, and entanglements with characters and powers that seek repeatedly to drive her off course. Morris’s paintings run parallel to her films, describing urban, social, and bureaucratic typologies with points, vectors, and angles, mapping a set of coordinates onto a two-dimensional surface. Rather than abstractions, it is more apt to view these features as a “glossary…used to depict a visible reality (architectural, social or economic) that capitalism has turned into an abstract painting." Prior to the opening of the exhibition, Morris will execute an original, site-specific wall painting at UCCA, 57.74 meters wide by 9 meters tall?, which will encompass the space in which the exhibition is held. Having grown up in the era of post-Watergate skepticism, Morris creates films fueled by a tension between paranoia and disavowal, characteristic of the heroes in high postmodernist novels, struggling to make sense of overdetermined systems. Her works are filled with the suspicion that behind the surfaces of day-to-day reality lie conspiracies of massive scope. This epistemic unease ultimately wreaks havoc with the genesis of ideas: if late capitalism is a giant playbook, then the boundary between reality and construct is blurred, meaning that, as J.G. Ballard has said, “external reality is a fiction.” Connections proliferate in these films. 1972 is a portrait of the police psychologist Dr. Georg Seiber, hired by the International Olympic Committee to anticipate scenarios jeopardizing the safety of the Munich Games, and who correctly predicted the attack by paramilitary organization, Black September. Beijing employs metonymic rings—the Olympic symbol, the concentric circles radiating from the Forbidden Palace, and the bureaucratic hoops Morris jumped through in production—to investigate the 2008 Games. Finite and Infinite Games, the most recent film in the exhibition, records a conversation between Morris and Alexander Kluge, lawyer for the Frankfurt school, about the differences between the culture industry and poststructuralist play. Points on a Line juxtaposes the Farnsworth House, designed by Mies van der Rohe, to the nearly-identical Glass House, designed by Philip Johnson, complicating modernist notions of originality and authorship. Chicago explores the architecture of the city to which Mies fled, during World War II, where he founded the “New Bauhaus.” Los Angeles, like 1972 and Robert Towne, unpacks an obsession with performance, exploring Hollywood’s psychological landscape and the ambitions of actors and actresses who, even “off set,” still play versions of themselves. Challenges to Morris’s journey to create her films are, in another sense, the very objects of her search. This is perhaps why, in Finite and Infinite Games, she describes the artist’s duty as one of being open “to possibly being used by a force that is larger than you, that might corrupt your meaning.” Unlike the epic—or, indeed, the modern—hero, Morris has not chosen to go forward or onward, but inward: her work evinces the belief that the smallest image, voice, or event, can provide the key to understanding.   Sarah Morris (b. 1967, England, lives and works in New York) has presented solo exhibitions at the Espoo Museum of Modern Art (Finland, 2017); Kunsthalle Wien (2016); Kunsthalle Bremen (2013); M-Museum Leuven (2015); Wexner Center for the Arts (Columbus, Ohio, 2012); Kunstsammlung Nordrhein-Westfalen (Dusseldorf, 2010); Museum für Moderne Kunst (Frankfurt, 2009); Museo d’Arte Moderna di Bologna (2009); Lenbachhaus (Munich, 2008); Fondation Beyeler (Basel, 2008); Museum Boijmans van Beuningen (Rotterdam, 2006); Kestner Gesellschaft (Hannover, 2005); Palais de Tokyo (Paris, 2005); Moderna Museet (Stockholm, 2005); Kunstforeningen (Copenhagen, 2004); Hamburger Bahnhof (Berlin, 2001); Kunsthalle Zürich (2000); and Modern Art Oxford (1999). Her work has also been included in the São Paulo Biennial (2002) and the Tate Triennial (2003), and has been collected by museums including Centre Pompidou; Solomon R. Guggenheim Museum; MoMA; Museum für Moderne Kunst (Frankfurt); Neue Nationalgalerie im Hamburger Bahnhof (Berlin); Stedelijk Museum (Amsterdam); San Francisco Museum of Modern Art; and Tate Modern.  

Sarah Morris – Odysseus Factor From March 24 to June 17, UCCA presents Sarah Morris: Odysseus Factor. This marks the first exhibition of the artist’s entire filmic output anywhere in the world, set within a vast installation comprised of paintings, drawings and a monumental wall painting specially devised for the Great Hall. The 14 films on view offer open ended explorations of space that emerge through a democratic overview of their architectures, protagonists, situations, and processes, shown at UCCA in a sequence of custom-built spaces arrayed throughout the former factory chamber of the Great Hall. The title of the exhibition might be understood as a reference to Morris’s creative trajectory, which can be divided into several ten-year periods—the same amount of time the Trojan war lasted, and the exact number of years that it took Odysseus to sail home to Ithaca. Morris debuted her first film, Midtown, in 1998, went on to shoot Beijing in 2008, and now returns, in 2018, to the city which inspired both the film and several of her paintings. Her artistic process, too, is Odyssean, involving journeys to multiple countries, and entanglements with characters and powers that seek repeatedly to drive her off course. Morris’s paintings run parallel to her films, describing urban, social, and bureaucratic typologies with points, vectors, and angles, mapping a set of coordinates onto a two-dimensional surface. Rather than abstractions, it is more apt to view these features as a “glossary…used to depict a visible reality (architectural, social or economic) that capitalism has turned into an abstract painting." Prior to the opening of the exhibition, Morris will execute an original, site-specific wall painting at UCCA, 57.74 meters wide by 9 meters tall?, which will encompass the space in which the exhibition is held. Having grown up in the era of post-Watergate skepticism, Morris creates films fueled by a tension between paranoia and disavowal, characteristic of the heroes in high postmodernist novels, struggling to make sense of overdetermined systems. Her works are filled with the suspicion that behind the surfaces of day-to-day reality lie conspiracies of massive scope. This epistemic unease ultimately wreaks havoc with the genesis of ideas: if late capitalism is a giant playbook, then the boundary between reality and construct is blurred, meaning that, as J.G. Ballard has said, “external reality is a fiction.” Connections proliferate in these films. 1972 is a portrait of the police psychologist Dr. Georg Seiber, hired by the International Olympic Committee to anticipate scenarios jeopardizing the safety of the Munich Games, and who correctly predicted the attack by paramilitary organization, Black September. Beijing employs metonymic rings—the Olympic symbol, the concentric circles radiating from the Forbidden Palace, and the bureaucratic hoops Morris jumped through in production—to investigate the 2008 Games. Finite and Infinite Games, the most recent film in the exhibition, records a conversation between Morris and Alexander Kluge, lawyer for the Frankfurt school, about the differences between the culture industry and poststructuralist play. Points on a Line juxtaposes the Farnsworth House, designed by Mies van der Rohe, to the nearly-identical Glass House, designed by Philip Johnson, complicating modernist notions of originality and authorship. Chicago explores the architecture of the city to which Mies fled, during World War II, where he founded the “New Bauhaus.” Los Angeles, like 1972 and Robert Towne, unpacks an obsession with performance, exploring Hollywood’s psychological landscape and the ambitions of actors and actresses who, even “off set,” still play versions of themselves. Challenges to Morris’s journey to create her films are, in another sense, the very objects of her search. This is perhaps why, in Finite and Infinite Games, she describes the artist’s duty as one of being open “to possibly being used by a force that is larger than you, that might corrupt your meaning.” Unlike the epic—or, indeed, the modern—hero, Morris has not chosen to go forward or onward, but inward: her work evinces the belief that the smallest image, voice, or event, can provide the key to understanding.   Sarah Morris (b. 1967, England, lives and works in New York) has presented solo exhibitions at the Espoo Museum of Modern Art (Finland, 2017); Kunsthalle Wien (2016); Kunsthalle Bremen (2013); M-Museum Leuven (2015); Wexner Center for the Arts (Columbus, Ohio, 2012); Kunstsammlung Nordrhein-Westfalen (Dusseldorf, 2010); Museum für Moderne Kunst (Frankfurt, 2009); Museo d’Arte Moderna di Bologna (2009); Lenbachhaus (Munich, 2008); Fondation Beyeler (Basel, 2008); Museum Boijmans van Beuningen (Rotterdam, 2006); Kestner Gesellschaft (Hannover, 2005); Palais de Tokyo (Paris, 2005); Moderna Museet (Stockholm, 2005); Kunstforeningen (Copenhagen, 2004); Hamburger Bahnhof (Berlin, 2001); Kunsthalle Zürich (2000); and Modern Art Oxford (1999). Her work has also been included in the São Paulo Biennial (2002) and the Tate Triennial (2003), and has been collected by museums including Centre Pompidou; Solomon R. Guggenheim Museum; MoMA; Museum für Moderne Kunst (Frankfurt); Neue Nationalgalerie im Hamburger Bahnhof (Berlin); Stedelijk Museum (Amsterdam); San Francisco Museum of Modern Art; and Tate Modern.  
Paul McCarthy
Paul McCarthy
Beijing - Jiuxianqiao Road
until 17-06-2018

Paul McCarthy – Innocence M WOODS is proud to present a solo exhibition by American master Paul McCarthy (b. 1945), a veteran of the Los Angeles scene and hugely influential to scores of artists across the world. McCarthy has dedicated his career to experimental practices, examining the shortfalls of conventional language and shining a light on the dark side of contemporary culture — specifically consumerism and mainstream media as they are experienced in America.   McCarthy’s 50 years of artmaking have seen him work in nearly every conceivable medium, from painting and sculpture, to performance, video, feature-length film and recently virtual reality. The medium of video at once preserves and informs McCarthy's performances and other creative endeavors, serving as a core part of his practice. For the exhibition at M WOODS, the artist has chosen to present a survey of video, which he has worked with since the beginning and consistently returned to over the course of his career. From his early black and white documentations of actions like Whipping a Wall and a Window with Paint (1974), to the seven-hour epic White Snow (2013), McCarthy’s own trajectory reflects the evolution of video art in production and address towards audiences. Showing publicly for the first time in China are 43 works by McCarthy and selected collaborators, made between 1970 and 2013.   Innocence is inseparable from narratives of its loss. The exhibition title suggests a state of mind and spirit of inquiry that run throughout McCarthy’s practice. M WOODS has worked closely with the artist and his studio team to design the exhibition. For its duration, the museum is flipped from beginning to end and accessed from the back entrance — an organizational restructuring that echoes McCarthy’s inversion of social norms. In considering the nature of certain content, the exhibition will be restricted to those over the age of 18. Identification is required. Admission is granted under visitors’ discretion.  

Paul McCarthy – Innocence M WOODS is proud to present a solo exhibition by American master Paul McCarthy (b. 1945), a veteran of the Los Angeles scene and hugely influential to scores of artists across the world. McCarthy has dedicated his career to experimental practices, examining the shortfalls of conventional language and shining a light on the dark side of contemporary culture — specifically consumerism and mainstream media as they are experienced in America.   McCarthy’s 50 years of artmaking have seen him work in nearly every conceivable medium, from painting and sculpture, to performance, video, feature-length film and recently virtual reality. The medium of video at once preserves and informs McCarthy's performances and other creative endeavors, serving as a core part of his practice. For the exhibition at M WOODS, the artist has chosen to present a survey of video, which he has worked with since the beginning and consistently returned to over the course of his career. From his early black and white documentations of actions like Whipping a Wall and a Window with Paint (1974), to the seven-hour epic White Snow (2013), McCarthy’s own trajectory reflects the evolution of video art in production and address towards audiences. Showing publicly for the first time in China are 43 works by McCarthy and selected collaborators, made between 1970 and 2013.   Innocence is inseparable from narratives of its loss. The exhibition title suggests a state of mind and spirit of inquiry that run throughout McCarthy’s practice. M WOODS has worked closely with the artist and his studio team to design the exhibition. For its duration, the museum is flipped from beginning to end and accessed from the back entrance — an organizational restructuring that echoes McCarthy’s inversion of social norms. In considering the nature of certain content, the exhibition will be restricted to those over the age of 18. Identification is required. Admission is granted under visitors’ discretion.  
Olafur Eliasson
Olafur Eliasson
Beijing - Shunbai Road
until 12-08-2018

Olafur Eliasson – The Unspeakable Openness of Things  

Olafur Eliasson – The Unspeakable Openness of Things  
Original Character
Original Character
Cologne - Arndtstrasse 4
until 07-06-2018

Original Character  Rosa Aiello, Ben Burgis & Ksenia Pedan, Charlie Froud, Morag Keil, Olga Pedan Some say it started with the release of Paula Smith’s Star Trek fanfic ?A Trekkie's Tale“, in 1972. The satirical short story is centered around Lieutenant Mary Sue, half Vulcan, half human and 15-year old Starfleet officer, who quickly sparks Kirk’s love interest and Spock’s intellectual admiration. She saves the day by rescuing the crew from an android prison and guides the ship into safety winning her a Nobel Prize while the others lie in sick bay stricken by an alien disease. In the end she dies tragically from the same disease with all crew members mourning around her death bed. Ever since, ?Mary Sue“ has been a generally derogatory term in fandom communities to expose characters that are too-good-to-be-true or overwritten, that obviously only serve as a wish fulfilment and proxy of the story’s (often female and teenage) author. With a misogynist subtext, Mary Sue’s are generally scorned as bad writing and for a supposed illegitimate alteration of an established fictional universe. In the past years the “Mary Sue” phenomenon seems to have spread rapidly, not only feeding the narratives of mainstream writing and cinema itself, but serving as a template for the production cultural communities online. A way to write, paint or meme oneself into existing franchises, novels, comics or video games via fan art or fiction. The amateurish and oftentimes poorly executed attempts to appropriate culture via reproducing it is at once a paradigm model of mediating the generic, and the individual as well as a poignant metaphor for living in general. They expand culture at the fringes of culture and its minor narratives and characters, altering DNAs, swapping genders creating meme mutants and alternate universes without ever hoping to become canonised. The popularity and urgency of these identity projects lead to the ubiquitous use of memes like “Original Character (do not steal)”. The expression tags a personal appropriation of an original artefact reflecting on the paradoxes of contemporary cultural production concerning originality, creativity and ownership. The struggle to mediate distinction and adaptation, desire and cynicism, the personal and the generic. It embodies a condition of total identification and alienation with the surroundings of prefab lifestyle choices, branding, culture, humanity and nature, both an agency with and against collective intelligence. Fandom appropriation designates a soft mimetic stalking of the estranged cultural reality you find yourself in. The original artefact becomes original by means of copying, and by projecting onto the familiar something that does not belong, while the adaptation reveals that the original was always askew and arbitrary in the first place. The idea would be to create eerie doubles of what already exists. Like the enhanced original in Borges' infamous ?Pierre Menard“ — born out of total empathy – a copy that is a singularity. A distinct alternate universe, the otherness in a shared canon. A perfect contingency of a generic template – like a painting, a pizza, a leaf. – Baptist Ohrtmann

Original Character  Rosa Aiello, Ben Burgis & Ksenia Pedan, Charlie Froud, Morag Keil, Olga Pedan Some say it started with the release of Paula Smith’s Star Trek fanfic ?A Trekkie's Tale“, in 1972. The satirical short story is centered around Lieutenant Mary Sue, half Vulcan, half human and 15-year old Starfleet officer, who quickly sparks Kirk’s love interest and Spock’s intellectual admiration. She saves the day by rescuing the crew from an android prison and guides the ship into safety winning her a Nobel Prize while the others lie in sick bay stricken by an alien disease. In the end she dies tragically from the same disease with all crew members mourning around her death bed. Ever since, ?Mary Sue“ has been a generally derogatory term in fandom communities to expose characters that are too-good-to-be-true or overwritten, that obviously only serve as a wish fulfilment and proxy of the story’s (often female and teenage) author. With a misogynist subtext, Mary Sue’s are generally scorned as bad writing and for a supposed illegitimate alteration of an established fictional universe. In the past years the “Mary Sue” phenomenon seems to have spread rapidly, not only feeding the narratives of mainstream writing and cinema itself, but serving as a template for the production cultural communities online. A way to write, paint or meme oneself into existing franchises, novels, comics or video games via fan art or fiction. The amateurish and oftentimes poorly executed attempts to appropriate culture via reproducing it is at once a paradigm model of mediating the generic, and the individual as well as a poignant metaphor for living in general. They expand culture at the fringes of culture and its minor narratives and characters, altering DNAs, swapping genders creating meme mutants and alternate universes without ever hoping to become canonised. The popularity and urgency of these identity projects lead to the ubiquitous use of memes like “Original Character (do not steal)”. The expression tags a personal appropriation of an original artefact reflecting on the paradoxes of contemporary cultural production concerning originality, creativity and ownership. The struggle to mediate distinction and adaptation, desire and cynicism, the personal and the generic. It embodies a condition of total identification and alienation with the surroundings of prefab lifestyle choices, branding, culture, humanity and nature, both an agency with and against collective intelligence. Fandom appropriation designates a soft mimetic stalking of the estranged cultural reality you find yourself in. The original artefact becomes original by means of copying, and by projecting onto the familiar something that does not belong, while the adaptation reveals that the original was always askew and arbitrary in the first place. The idea would be to create eerie doubles of what already exists. Like the enhanced original in Borges' infamous ?Pierre Menard“ — born out of total empathy – a copy that is a singularity. A distinct alternate universe, the otherness in a shared canon. A perfect contingency of a generic template – like a painting, a pizza, a leaf. – Baptist Ohrtmann
Alex Da Corte
Alex Da Corte
Cologne - Hahnenstrasse 6
until 17-06-2018

Alex Da Corte – THE SUP?RMAN Alex Da Corte (*1980 Camden, New Jersey, USA) uses painting, sculpture, installation, and film to explore the conditions and intricacies of human perception and the reactions associated with it. Special attention is paid to the complexity of today’s consumer world and how it intertwines with social, cultural, and political spheres. And thus, concepts like desire, hope, and longing account for just as much of his work as the examination of terms like dependence, alienation, and a sense of being lost. The starting point for his artistic works is mostly found in objects and scenarios from his personal and more general social environment which he then transforms into works of art through modifications, changes of perspective, or contrasting juxtapositions that appeal powerfully to all the senses. Four cinematic works come together at the center of Alex Da Corte’s presentation to form a haunting installation in the large hall of the Kölnischer Kunstverein. These works include TRU? LIF?, which was made in 2013, as well as the three-part work BAD LAND, which was created in 2017. Despite being created at different times, both pieces share a point of origin that is closely connected to a personal experience of the artist. A friend sent him a photograph a few years ago that seemed to show him in front of Leonardo da Vinci’s Mona Lisa in the Musee du Louvre in Paris, although the photograph was actually of the American rapper Eminem. This confusion was based on a certain similarity between the two and prompted Alex Da Corte to begin working with the idea of the world-famous musician, who had been repeatedly criticized in the past for glorifying violence and being hostile towards homosexuals and women, and his Slim Shady alter ego. He was interested in the question of what makes up Eminem as a person, what psychology is involved, and how he would behave in a private environment. His interest finally culminated in the work TRU? LIF?, for which he took on the role of the rapper by dyeing his hair blond, putting on the appropriate clothing, and adopting his persona. In reference to the documentary 66 Scenes from America by Danish filmmaker Jørgen Leth in which Pop Art artist Andy Warhol eats a hamburger, TRU? LIF? depicts Eminem as played by Alex Da Corte eating a North American breakfast cereal called Life. Despite a compositional sophistication that recalls the simple actions of artists like Bas Jan Ader, Gilbert & George, and Bruce Nauman, the plainness of the scene forms a contrast to the glamor and fame—not to mention the drive and drastic behavior—that the rapper embodies. Eminem is portrayed by Alex Da Corte more as a human being than as an inaccessible and invincible celebrity. The three Bad Land films, the title of which refers to an underprivileged district of Philadelphia where the artist’s studio is located known as the “Badlands,” were conceived by Alex Da Corte as a cohesive work and are a continuation of the ideas addressed in TRU? LIF?. The first film shows the musician in a setting divided into two areas: Its clear-cut, uniformly red and yellow tones is reminiscent of a pop version of Ellsworth Kelly or Blinky Palermo. In the almost eleven-minute sequence, the protagonist is busy untangling a chaotic bunch of old Playstation controllers and then arranging them neatly on a table-like base. For Alex Da Corte, the action functions as an allegory of fear, power, and control, whereby the banality of the scene once again breaks away from the general image of Eminem. In contrast, the second film in the BAD LAND series makes significantly clearer reference to the practices of some rappers. Accompanied by atmospheric sounds, the film shows how the musician smokes cannabis with homemade pipes and bongs. It is surprising how perfectly, artistically, and humorously the smoking devices are made from various everyday objects, and without losing their functionality. In the course of the consumption, the smoker appears to fall into a trance-like state that is accompanied by a deep laugh and intense cough that seems to trace back to a lack of routine. Finally, the third and last film in the BAD LAND series shows the rapper performing probably the most unusual action. Eminem, as depicted by Da Corte, stands in front of a grey background and is busy coloring his hair by rubbing yellow mustard into it while accompanied by ambiguous sounds and tones. As the film progresses, he puts on a paper crown from a fast-food restaurant, which is then repeatedly rubbed with the condiment although it already shows clear traces of the treatment. This symbol of power, which is particularly popular in hip hop culture, is thus not only associated with the excesses of consumer society, but is also questioned with palpable humor. It can hardly come as a surprise in this context that the rapper seems to increasingly lose his mind towards the end of the sequence. After all, a symbol of power like a crown is always associated with the fear of losing power, while fast-food chains often stand for seductive illusions. The examination of psychological parameters as they are revealed both in the BAD LAND films as well as in TRU? LIF? represents a significant driving force for Alex Da Corte’s work in which the traditional boundaries between the different genres seem to dissolve. It can also be seen in the exhibition THE SUP?RMAN, in which the films are embedded in a complex architecture that plays with the viewer’s perception and emotions with remarkable intensity. It is not just the sculptural presence of the films that becomes overwhelming, but also the picturesque installation that melts somewhere between Pop Art and Surrealism into an intoxicating gesamtkunstwerk that evokes memories of nightmares just as much as those of Disneyland. Alex Da Corte has had solo exhibitions at the New Museum in New York (2017), the Secession in Vienna (2017), the Massachusetts Museum of Contemporary Art, North Adams (2017), the Boijmans Van Beuningen in Rotterdam (2015), and the Institute for Contemporary Art in Philadelphia (2015). He has also participated in group exhibitions at the Whitney Museum of American Art in New York (2017), the Louisiana Museum of Modern Art in Humlebæk (2016), and the Biennale in Lyon (2015).  

Alex Da Corte – THE SUP?RMAN Alex Da Corte (*1980 Camden, New Jersey, USA) uses painting, sculpture, installation, and film to explore the conditions and intricacies of human perception and the reactions associated with it. Special attention is paid to the complexity of today’s consumer world and how it intertwines with social, cultural, and political spheres. And thus, concepts like desire, hope, and longing account for just as much of his work as the examination of terms like dependence, alienation, and a sense of being lost. The starting point for his artistic works is mostly found in objects and scenarios from his personal and more general social environment which he then transforms into works of art through modifications, changes of perspective, or contrasting juxtapositions that appeal powerfully to all the senses. Four cinematic works come together at the center of Alex Da Corte’s presentation to form a haunting installation in the large hall of the Kölnischer Kunstverein. These works include TRU? LIF?, which was made in 2013, as well as the three-part work BAD LAND, which was created in 2017. Despite being created at different times, both pieces share a point of origin that is closely connected to a personal experience of the artist. A friend sent him a photograph a few years ago that seemed to show him in front of Leonardo da Vinci’s Mona Lisa in the Musee du Louvre in Paris, although the photograph was actually of the American rapper Eminem. This confusion was based on a certain similarity between the two and prompted Alex Da Corte to begin working with the idea of the world-famous musician, who had been repeatedly criticized in the past for glorifying violence and being hostile towards homosexuals and women, and his Slim Shady alter ego. He was interested in the question of what makes up Eminem as a person, what psychology is involved, and how he would behave in a private environment. His interest finally culminated in the work TRU? LIF?, for which he took on the role of the rapper by dyeing his hair blond, putting on the appropriate clothing, and adopting his persona. In reference to the documentary 66 Scenes from America by Danish filmmaker Jørgen Leth in which Pop Art artist Andy Warhol eats a hamburger, TRU? LIF? depicts Eminem as played by Alex Da Corte eating a North American breakfast cereal called Life. Despite a compositional sophistication that recalls the simple actions of artists like Bas Jan Ader, Gilbert & George, and Bruce Nauman, the plainness of the scene forms a contrast to the glamor and fame—not to mention the drive and drastic behavior—that the rapper embodies. Eminem is portrayed by Alex Da Corte more as a human being than as an inaccessible and invincible celebrity. The three Bad Land films, the title of which refers to an underprivileged district of Philadelphia where the artist’s studio is located known as the “Badlands,” were conceived by Alex Da Corte as a cohesive work and are a continuation of the ideas addressed in TRU? LIF?. The first film shows the musician in a setting divided into two areas: Its clear-cut, uniformly red and yellow tones is reminiscent of a pop version of Ellsworth Kelly or Blinky Palermo. In the almost eleven-minute sequence, the protagonist is busy untangling a chaotic bunch of old Playstation controllers and then arranging them neatly on a table-like base. For Alex Da Corte, the action functions as an allegory of fear, power, and control, whereby the banality of the scene once again breaks away from the general image of Eminem. In contrast, the second film in the BAD LAND series makes significantly clearer reference to the practices of some rappers. Accompanied by atmospheric sounds, the film shows how the musician smokes cannabis with homemade pipes and bongs. It is surprising how perfectly, artistically, and humorously the smoking devices are made from various everyday objects, and without losing their functionality. In the course of the consumption, the smoker appears to fall into a trance-like state that is accompanied by a deep laugh and intense cough that seems to trace back to a lack of routine. Finally, the third and last film in the BAD LAND series shows the rapper performing probably the most unusual action. Eminem, as depicted by Da Corte, stands in front of a grey background and is busy coloring his hair by rubbing yellow mustard into it while accompanied by ambiguous sounds and tones. As the film progresses, he puts on a paper crown from a fast-food restaurant, which is then repeatedly rubbed with the condiment although it already shows clear traces of the treatment. This symbol of power, which is particularly popular in hip hop culture, is thus not only associated with the excesses of consumer society, but is also questioned with palpable humor. It can hardly come as a surprise in this context that the rapper seems to increasingly lose his mind towards the end of the sequence. After all, a symbol of power like a crown is always associated with the fear of losing power, while fast-food chains often stand for seductive illusions. The examination of psychological parameters as they are revealed both in the BAD LAND films as well as in TRU? LIF? represents a significant driving force for Alex Da Corte’s work in which the traditional boundaries between the different genres seem to dissolve. It can also be seen in the exhibition THE SUP?RMAN, in which the films are embedded in a complex architecture that plays with the viewer’s perception and emotions with remarkable intensity. It is not just the sculptural presence of the films that becomes overwhelming, but also the picturesque installation that melts somewhere between Pop Art and Surrealism into an intoxicating gesamtkunstwerk that evokes memories of nightmares just as much as those of Disneyland. Alex Da Corte has had solo exhibitions at the New Museum in New York (2017), the Secession in Vienna (2017), the Massachusetts Museum of Contemporary Art, North Adams (2017), the Boijmans Van Beuningen in Rotterdam (2015), and the Institute for Contemporary Art in Philadelphia (2015). He has also participated in group exhibitions at the Whitney Museum of American Art in New York (2017), the Louisiana Museum of Modern Art in Humlebæk (2016), and the Biennale in Lyon (2015).  
Haegue Yang
Haegue Yang
Cologne - Hein­rich-Böll-Platz
until 12-08-2018

Haegue Yang – ETA 1994–2018.  2018 Wolfgang Hahn Prize   In 2018, the Gesellschaft für Moderne Kunst am Museum Ludwig will recognize Haegue Yang for her extraordinary body of work with the Wolfgang Hahn Prize. The Museum Ludwig will showcase the remarkable versatility of her entire oeuvre in the artist’s first-ever survey exhibition with over 120 works ranging from action-based objects from the 1990s to lacquer paintings, photographs, works on paper, video essays, anthropomorphic sculptures, performative pieces, and large-scale installations.   The abbreviation ETA stands for “estimated time of arrival,” among other things. Thus, the exhibition title points to an artistic career in transit and the constant itineracy of an artist who maintains studios in Seoul and Berlin and has exhibited internationally since 1994.   The exhibition will begin with Yang’s first venetian blind installation from her 2006 Series of Vulnerable Arrangements—the 2006 Version Utrecht, an immersive and sensorial experience unfolding from a composition of various materials and the simultaneous use of wind, scents, light, and heat. Within this arrangement, video essays document the artist’s travels through cities around the world and convey feelings of home, isolation, and dislocation associated with her itineracy in quite personal commentaries.   One of the first rooms will feature early and in some cases reconstructed works that reveal Yang’s examination of Western art history from Duchamp to Fluxus and tendencies of Institutional Critique as well as the then-current Context Art. As in her first few exhibitions in the 1990s, these works will be staged or ironically shown in display cases, like in an archive.   A central part of the exhibition is Storage Piece. This key work was created in 2004 out of financial need and an acute lack of space as a collection of packaged works on shipping pallets. The work has since been exhibited in several configurations, and its arrangement will also change at regular intervals in the Cologne exhibition—a reflection of Yang’s consideration of transitory states. Furthermore, it was an important contribution to Conceptual Art in the mid-2000s, as well as a striking commentary on a rapidly changing art market and the increasing commodification of art.   Yang’s well-known anthropomorphic light sculptures will be represented in the exhibition with the "Medicine Men" series from 2010, among other works. These consist of a variety of materials: functional and industrially manufactured everyday objects such as clothing racks, light bulbs, electric cables, and party wigs. Yang herself refers to these sculptures as “shamans” or “transvestites,” thus pointing to the ambiguous gender and social roles that medicine men take on in nature religions. They also pose questions of exoticism and cultural identity which run throughout Yang’s work.   Yang will also continue her series "VIP's Union" (2001–) with a version for Cologne. Well-known local figures—VIPs from different areas of society such as culture, sports, business, and politics—will be invited to lend their favorite chair or table for the duration of the exhibition. This collection of different pieces of furniture will portray the local society and its domestic preferences.   The 12-meter-high DC Hall will feature two works consisting of blinds, Mountains of Encounter (2008) and Sol LeWitt Upside Down – K123456, Expanded 1078 Times, Doubled and Mirrored (2015). For the first time, two very different types of venetian blind installations will be juxtaposed in a single room: while Mountains of Encounter marked the beginning of a series of structurally complex compositions relating to historical events and personalities in Yang’s oeuvre, Sol LeWitt Upside Down – K123456, Expanded 1078 Times, Doubled and Mirrored is based on a cubic structure by the Minimalist artist Sol LeWitt, which Yang not only physically expands, but also conceptually condenses, doubles, mirrors, and finally turns upside down.   With her diverse oeuvre, Yang adeptly avoids clear attributions. Her works demonstrate elements of Institutional Critique and are conceptual as well as rich in cultural and historical references, while simultaneously sensually complex and emotionally charged. Across over 1500 square meters of exhibition space, this comprehensive retrospective’s spatial scenography will echo the conceptual dynamics of the works, lending the exhibition the quality of a Gesamtkunstwerk—harmonious yet full of dissonances.   Haegue Yang (*1971 in Seoul) lives and works in Berlin and Seoul. Since 2017, she has been teaching at the Städelschule, where she herself began her studies under Georg Herold in 1994. She was twice represented at the Venice Biennale in 2009 (in the programmatic exhibition fare mondi and in a solo exhibition in the Korean pavilion), and in 2012 she participated in dOCUMENTA (13).

Haegue Yang – ETA 1994–2018.  2018 Wolfgang Hahn Prize   In 2018, the Gesellschaft für Moderne Kunst am Museum Ludwig will recognize Haegue Yang for her extraordinary body of work with the Wolfgang Hahn Prize. The Museum Ludwig will showcase the remarkable versatility of her entire oeuvre in the artist’s first-ever survey exhibition with over 120 works ranging from action-based objects from the 1990s to lacquer paintings, photographs, works on paper, video essays, anthropomorphic sculptures, performative pieces, and large-scale installations.   The abbreviation ETA stands for “estimated time of arrival,” among other things. Thus, the exhibition title points to an artistic career in transit and the constant itineracy of an artist who maintains studios in Seoul and Berlin and has exhibited internationally since 1994.   The exhibition will begin with Yang’s first venetian blind installation from her 2006 Series of Vulnerable Arrangements—the 2006 Version Utrecht, an immersive and sensorial experience unfolding from a composition of various materials and the simultaneous use of wind, scents, light, and heat. Within this arrangement, video essays document the artist’s travels through cities around the world and convey feelings of home, isolation, and dislocation associated with her itineracy in quite personal commentaries.   One of the first rooms will feature early and in some cases reconstructed works that reveal Yang’s examination of Western art history from Duchamp to Fluxus and tendencies of Institutional Critique as well as the then-current Context Art. As in her first few exhibitions in the 1990s, these works will be staged or ironically shown in display cases, like in an archive.   A central part of the exhibition is Storage Piece. This key work was created in 2004 out of financial need and an acute lack of space as a collection of packaged works on shipping pallets. The work has since been exhibited in several configurations, and its arrangement will also change at regular intervals in the Cologne exhibition—a reflection of Yang’s consideration of transitory states. Furthermore, it was an important contribution to Conceptual Art in the mid-2000s, as well as a striking commentary on a rapidly changing art market and the increasing commodification of art.   Yang’s well-known anthropomorphic light sculptures will be represented in the exhibition with the "Medicine Men" series from 2010, among other works. These consist of a variety of materials: functional and industrially manufactured everyday objects such as clothing racks, light bulbs, electric cables, and party wigs. Yang herself refers to these sculptures as “shamans” or “transvestites,” thus pointing to the ambiguous gender and social roles that medicine men take on in nature religions. They also pose questions of exoticism and cultural identity which run throughout Yang’s work.   Yang will also continue her series "VIP's Union" (2001–) with a version for Cologne. Well-known local figures—VIPs from different areas of society such as culture, sports, business, and politics—will be invited to lend their favorite chair or table for the duration of the exhibition. This collection of different pieces of furniture will portray the local society and its domestic preferences.   The 12-meter-high DC Hall will feature two works consisting of blinds, Mountains of Encounter (2008) and Sol LeWitt Upside Down – K123456, Expanded 1078 Times, Doubled and Mirrored (2015). For the first time, two very different types of venetian blind installations will be juxtaposed in a single room: while Mountains of Encounter marked the beginning of a series of structurally complex compositions relating to historical events and personalities in Yang’s oeuvre, Sol LeWitt Upside Down – K123456, Expanded 1078 Times, Doubled and Mirrored is based on a cubic structure by the Minimalist artist Sol LeWitt, which Yang not only physically expands, but also conceptually condenses, doubles, mirrors, and finally turns upside down.   With her diverse oeuvre, Yang adeptly avoids clear attributions. Her works demonstrate elements of Institutional Critique and are conceptual as well as rich in cultural and historical references, while simultaneously sensually complex and emotionally charged. Across over 1500 square meters of exhibition space, this comprehensive retrospective’s spatial scenography will echo the conceptual dynamics of the works, lending the exhibition the quality of a Gesamtkunstwerk—harmonious yet full of dissonances.   Haegue Yang (*1971 in Seoul) lives and works in Berlin and Seoul. Since 2017, she has been teaching at the Städelschule, where she herself began her studies under Georg Herold in 1994. She was twice represented at the Venice Biennale in 2009 (in the programmatic exhibition fare mondi and in a solo exhibition in the Korean pavilion), and in 2012 she participated in dOCUMENTA (13).
Micha Cattaui
Micha Cattaui
Cologne - Erftstrasse 29
until 29-06-2018

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. I like to bridge that sense of artistic perfection seen in Ancient Greece and merge it with our modern society of mass consumerism. Pastel colors were first used during the Renaissance and I thought of using pastel backgrounds in photographing my sculptures as a way of giving a “new” life to antiquities. – Micha Cattaui

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. I like to bridge that sense of artistic perfection seen in Ancient Greece and merge it with our modern society of mass consumerism. Pastel colors were first used during the Renaissance and I thought of using pastel backgrounds in photographing my sculptures as a way of giving a “new” life to antiquities. – Micha Cattaui
Jeremy Shaw
Jeremy Shaw
Düsseldorf - Ackerstrasse 26
until 30-06-2018

Jeremy Shaw – ?Quickeners Quickeners: They live about 500 years after us and belong to the entirely rational- thinking species of Quantum Human, who are immortal and connected to each other through an abstract entity called “The Hive”. However, Quickeners have a developed a rare disorder named “Human Atavism Syndrome” - or H.A.S.- that prompts them to unexplainably desire to engage in long-forgotten behavioural patterns of humans. Detached from Hive, the Quickeners fall into an ecstatic state in which they sing, clap, cry, scream, dance and handle poisonous snakes. The video work “Quickeners” (2014) by the Canadian artist Jeremy Shaw is a kind of sci-fi pseudo-documentary. It’s source material comes from the 1967 film “Holy Ghost People”; a cinema verité film that depicts the worship service of a Pentecostal church in a small American town. In these churches that emerged in America at the start of the 20th century, speaking in “tongues”, laughing out loud, bursting into tears, or experiencing twitching fits was commonplace. Shaw’s re-worked video is presented by a BBC-like narrator who details the story of the Quickeners in a deadpan tone. It is accompanied by subtitles that translate the Quickeners scrambled language and a soundtrack that embellishes the events until the film itself falls into a state of ecstasy. Jeremy Shaw's work revolves around altered states of consciousness—whether triggered by religion, drugs, dance or technology. For the istallation “DMT” (2004) he documented subjects under the influence of the ultra-psychedelic drug, dimethyltryptamine, and translated their immediate recollections of the experience into subtitles. In “Best Minds Part One” (2007), he shot footage of straight-edge hardcore dancers who consciously abstain from alcohol and drugs in order to go into a kind of puritanical ecstasy through music and dance alone. Shaw then slowed down the footage and added an ambient soundtrack, drawing parallels to shamanic and balletic dances. Ethnographic studies, neuroscience and belief systems play a recurring role in Shaw’s work. “Quickeners” fits snuggly into this universe by fusing many of Shaw’s interests into a succinct, alchemical whole. „Quickeners“ is the predecessor to “Liminals”, which was shown at the 2017 Venice Biennale, and is followed by „I Can See Forever“, that will premiere at the Kunstverein Hamburg in May 2018 and complete the „Quantification Trilogy“. Jeremy Shaw was born in 1977 in North Vancouver, Canada and lives and works in Berlin. He currently has a residency at the Hammer Museum, Los Angeles. His solo exhibition at the Kunstverein Hamburg opens May 25. He exhibited at the 57th Venice Biennale and Manifesta 11, and has had solo exhibitions at the Schinkel Pavilion Berlin (2013) and the MoMA PS1 (2011). — Gesine Borcherdt, Curator of CAPRI

Jeremy Shaw – ?Quickeners Quickeners: They live about 500 years after us and belong to the entirely rational- thinking species of Quantum Human, who are immortal and connected to each other through an abstract entity called “The Hive”. However, Quickeners have a developed a rare disorder named “Human Atavism Syndrome” - or H.A.S.- that prompts them to unexplainably desire to engage in long-forgotten behavioural patterns of humans. Detached from Hive, the Quickeners fall into an ecstatic state in which they sing, clap, cry, scream, dance and handle poisonous snakes. The video work “Quickeners” (2014) by the Canadian artist Jeremy Shaw is a kind of sci-fi pseudo-documentary. It’s source material comes from the 1967 film “Holy Ghost People”; a cinema verité film that depicts the worship service of a Pentecostal church in a small American town. In these churches that emerged in America at the start of the 20th century, speaking in “tongues”, laughing out loud, bursting into tears, or experiencing twitching fits was commonplace. Shaw’s re-worked video is presented by a BBC-like narrator who details the story of the Quickeners in a deadpan tone. It is accompanied by subtitles that translate the Quickeners scrambled language and a soundtrack that embellishes the events until the film itself falls into a state of ecstasy. Jeremy Shaw's work revolves around altered states of consciousness—whether triggered by religion, drugs, dance or technology. For the istallation “DMT” (2004) he documented subjects under the influence of the ultra-psychedelic drug, dimethyltryptamine, and translated their immediate recollections of the experience into subtitles. In “Best Minds Part One” (2007), he shot footage of straight-edge hardcore dancers who consciously abstain from alcohol and drugs in order to go into a kind of puritanical ecstasy through music and dance alone. Shaw then slowed down the footage and added an ambient soundtrack, drawing parallels to shamanic and balletic dances. Ethnographic studies, neuroscience and belief systems play a recurring role in Shaw’s work. “Quickeners” fits snuggly into this universe by fusing many of Shaw’s interests into a succinct, alchemical whole. „Quickeners“ is the predecessor to “Liminals”, which was shown at the 2017 Venice Biennale, and is followed by „I Can See Forever“, that will premiere at the Kunstverein Hamburg in May 2018 and complete the „Quantification Trilogy“. Jeremy Shaw was born in 1977 in North Vancouver, Canada and lives and works in Berlin. He currently has a residency at the Hammer Museum, Los Angeles. His solo exhibition at the Kunstverein Hamburg opens May 25. He exhibited at the 57th Venice Biennale and Manifesta 11, and has had solo exhibitions at the Schinkel Pavilion Berlin (2013) and the MoMA PS1 (2011). — Gesine Borcherdt, Curator of CAPRI
Meeting the Universe Halfway
Meeting the Universe Halfway
Düsseldorf - Mannesmannufer 1b
until 03-06-2018

Meeting the Universe Halfway Ye?im Akdeniz, François Dey, Jen Liu, Kubilay Mert Ural, Ceel Mogami de Haas, Christoph Westermeier, and Müge Y?lmaz The exhibition Meeting the Universe Halfway is based on an essay by Karen Barad (*1956) in which the theoretical physicist and feminist theorist covers many different fields of science, sociology, and the humanities and offers a report on the world as a whole. Barad’s conceptual framework is agent realism, which deals with the inseparability of being and knowing. She questions the distinction in scientific disciplines between the theory of knowledge (epistemology) and the study of the nature of being (ontology). On a scientific basis, Barad develops a new language for the idea of an exchange between objects with regard to aspects of posthumanism. It is assumed that it is not the human being that is the measure of all things, but that communication takes place on equal footing. Following the idea that objects lead a life of their own, they can be called agents traveling through different levels of time. While from the humanist perspective human beings determine the beginning and the end, a completely different narrative emerges from the perspective of objects. They last longer than a human life and are redefined by each present moment. Every society appropriates them in its own way. From the human perspective, a merging is possible, while from the perspective of things only a temporary occupation can occur. In the long term, things cannot be controlled forever, because they themselves are subject to a natural process of change. They are matter and “matter is not a being determined once and for all; rather, it is substance in its interactive becoming—not a thing, but an activity, solidified activity.”1 But human beings are capable of making lasting changes to “solidified activity.” They can manipulate the appearance in such a way that objects are deprived of their identity and have to find their way in new realities. For instance, the sociologist Siegfried Kracauer believed that bridges to the past were broken off when the ornaments were removed from buildings on Kurfürstendamm in Berlin in 1932: “Now the robbed facades stand forever in time and symbolize the faceless change that takes place behind them.” The study of being is no longer just the subject of scientific research, but has found its way into the visual arts due to its current relevance. Along with the Kunstakademie Düsseldorf professor Yesim Akdeniz (*1978), five other artists from Germany, the Netherlands, Switzerland, Turkey, and the United States deal with this topic.

Meeting the Universe Halfway Ye?im Akdeniz, François Dey, Jen Liu, Kubilay Mert Ural, Ceel Mogami de Haas, Christoph Westermeier, and Müge Y?lmaz The exhibition Meeting the Universe Halfway is based on an essay by Karen Barad (*1956) in which the theoretical physicist and feminist theorist covers many different fields of science, sociology, and the humanities and offers a report on the world as a whole. Barad’s conceptual framework is agent realism, which deals with the inseparability of being and knowing. She questions the distinction in scientific disciplines between the theory of knowledge (epistemology) and the study of the nature of being (ontology). On a scientific basis, Barad develops a new language for the idea of an exchange between objects with regard to aspects of posthumanism. It is assumed that it is not the human being that is the measure of all things, but that communication takes place on equal footing. Following the idea that objects lead a life of their own, they can be called agents traveling through different levels of time. While from the humanist perspective human beings determine the beginning and the end, a completely different narrative emerges from the perspective of objects. They last longer than a human life and are redefined by each present moment. Every society appropriates them in its own way. From the human perspective, a merging is possible, while from the perspective of things only a temporary occupation can occur. In the long term, things cannot be controlled forever, because they themselves are subject to a natural process of change. They are matter and “matter is not a being determined once and for all; rather, it is substance in its interactive becoming—not a thing, but an activity, solidified activity.”1 But human beings are capable of making lasting changes to “solidified activity.” They can manipulate the appearance in such a way that objects are deprived of their identity and have to find their way in new realities. For instance, the sociologist Siegfried Kracauer believed that bridges to the past were broken off when the ornaments were removed from buildings on Kurfürstendamm in Berlin in 1932: “Now the robbed facades stand forever in time and symbolize the faceless change that takes place behind them.” The study of being is no longer just the subject of scientific research, but has found its way into the visual arts due to its current relevance. Along with the Kunstakademie Düsseldorf professor Yesim Akdeniz (*1978), five other artists from Germany, the Netherlands, Switzerland, Turkey, and the United States deal with this topic.
Douglas Gordon
Douglas Gordon
Düsseldorf - 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.
Nevin Aladag
Nevin Aladag
Düsseldorf - Birkenstrasse 47
until 01-07-2018

Nevin Aladag – Social Fabric With Nevin Aladag, the Philara Collection is showing an artist who has devoted herself to the ornament as a synonym of complex social constitutions. In her cross genre works, Aladag investigates questions about origins, identity and gender, by means of cultural artefacts and hand down plots. The dismantling of limits, the deconstruction of “the foreign” and the linking of antagonistically perceived cultural statements with organisations are the focal points in her work. Nevin Aladag tries to make the nature of our communities, their social structures as well as the interests of its individual protagonists herself included readable. In her series Colors, which has been an integral part of the Philara café Glas Lennarz since 2016, she covered diverse lamps by Poul Henningsen with variously coloured pantyhose. Through this procedure, the luminosity of the lamps changes, and the design icon Henningsen obtains a new interpretation. Simultaneously, the artist introduces a discourse about gender, skin colours and politics, which articulates a heterogeneous ideology. The series Pattern Matching is about the comparison of “western and oriental structures”. The lines of an American basketball court are assembled by a number of different parts of an oriental carpet. The patters are inconsistent. A complex reference system of alleged opposites such as privacy and publicity unfolds. Through the overlapping of patterns, that belong to different semantic systems western play versus oriental ornamentation. Aladag brings about a new, hybrid significance. Music and dance are recurring elements in Aladag’s fields of interest. In her performance Musikzimmer, which, inter alia, was also performed during the documenta 14 in Athens, she transforms pieces of furniture into musical instruments. This furniture can be used to play music, without losing its original functions. Instead, a double function is being formed, which requires an active handling with the object. Nevin Aladag forms bodies of resonance, negotiation spaces and stimulates a revision of one’s own position in them. Nevin Aladag was born in 1972 in Turkey, and now lives and works in Berlin. She studied at the Munich Academy of Fine Arts with Olaf Metzel. In 2017, she participated in documenta 14 in Athens/Kassel, as well as the 57. La Biennale di Venezia.

Nevin Aladag – Social Fabric With Nevin Aladag, the Philara Collection is showing an artist who has devoted herself to the ornament as a synonym of complex social constitutions. In her cross genre works, Aladag investigates questions about origins, identity and gender, by means of cultural artefacts and hand down plots. The dismantling of limits, the deconstruction of “the foreign” and the linking of antagonistically perceived cultural statements with organisations are the focal points in her work. Nevin Aladag tries to make the nature of our communities, their social structures as well as the interests of its individual protagonists herself included readable. In her series Colors, which has been an integral part of the Philara café Glas Lennarz since 2016, she covered diverse lamps by Poul Henningsen with variously coloured pantyhose. Through this procedure, the luminosity of the lamps changes, and the design icon Henningsen obtains a new interpretation. Simultaneously, the artist introduces a discourse about gender, skin colours and politics, which articulates a heterogeneous ideology. The series Pattern Matching is about the comparison of “western and oriental structures”. The lines of an American basketball court are assembled by a number of different parts of an oriental carpet. The patters are inconsistent. A complex reference system of alleged opposites such as privacy and publicity unfolds. Through the overlapping of patterns, that belong to different semantic systems western play versus oriental ornamentation. Aladag brings about a new, hybrid significance. Music and dance are recurring elements in Aladag’s fields of interest. In her performance Musikzimmer, which, inter alia, was also performed during the documenta 14 in Athens, she transforms pieces of furniture into musical instruments. This furniture can be used to play music, without losing its original functions. Instead, a double function is being formed, which requires an active handling with the object. Nevin Aladag forms bodies of resonance, negotiation spaces and stimulates a revision of one’s own position in them. Nevin Aladag was born in 1972 in Turkey, and now lives and works in Berlin. She studied at the Munich Academy of Fine Arts with Olaf Metzel. In 2017, she participated in documenta 14 in Athens/Kassel, as well as the 57. La Biennale di Venezia.
Michael Bauch & Berta Fischer
Michael Bauch & Berta Fischer
Düsseldorf - Birkenstrasse 3
until 30-06-2018

Michael Bauch & Berta Fischer Galerie Karin Guenther, Hamburg invited by Kadel Willborn, Düsseldorf  

Michael Bauch & Berta Fischer Galerie Karin Guenther, Hamburg invited by Kadel Willborn, Düsseldorf  
Patricia Fernández
Patricia Fernández
Los Angeles - 3006 West 7th Street #220
until 23-06-2018

Patricia Fernández – Box (a proposition for ten years) Once a year since 2013, “Box (a proposition for ten years)” for Commonwealth and Council is exhibited with its contents (re-purposed fragments, writings, drawings, paintings, and sculptural elements) as they accumulate, transform, and grow. Through this time-based sculpture, Patricia Fernández fosters a relationship with the space by proposing a personalized exchange system. For our 6th anniversary, “Box” will be presented at Tina Kim Gallery (NY) in a group exhibition titled “Commonwealth and Council” opening on June 28, 2018.   In the front room at Commonwealth and Council, Fernández presents new additions to the “Box” including a daybed with a shelf that holds a porcelain vessel, a postcard, and a model bone ship. A series of sleep paintings hangs amid curtains with embroidered images drawn from a year of dream transcription from Jungian analysis.   The daybed calls us to sleep. Fernández took this to heart while making the bed, napping and sleeping in it. The headboard, bearing “X” marks like those carved by Fernández’s grandfather, closes around the bed to create another box resembling a chamber, chest, or coffin. Visions of last year’s Perseid meteors, or Tears of St. Lawrence, emblazon the porcelain vessel, combining the myth of Perseus, cast to the sea with his mother in a wooden chest, and the story of St. Lawrence, who cried burning tears. The proposed ship will be made from human bones, and one day carry the artist, her friends, and their posterity to the Island of Formentera, to spend time together among its caves and underground passageways. The wells of Santa Casilda appear on a postcard. The artist and her grandfather, whose carvings are also found there, make an annual pilgrimage to dip their hands in the healing waters.   Fernández began painting sleepers when a found photo led her to portray St. Casilda in repose. These paintings access the peculiar vulnerability of their unconscious subjects, offered here against a sea of blue, in praise of sleep—where dreams, like death, may carry us toward eternal rest. Patricia Fernández (b. 1980 in Burgos, Spain; lives and works in Los Angeles) studied at Central Saint Martins, London, and the University of California, Los Angeles, and received an MFA from the California Institute of the Arts (2010). Fernández has exhibited her work at the Orange County Museum of Art, Newport Beach; Centro de Arte Caja de Burgos, Spain; LA><ART, Los Angeles; Los Angeles Contemporary Archive (LACA); and the Hammer Museum, Los Angeles. She is a recipient of the Pollock-Krasner Grant (2017), Lincoln City Fellowship (2015), France Los Angeles Exchange (FLAX) Grant (2012), California Community Foundation Fellowship (2011), and Joan Mitchell Grant (2010), and was Artist-in-Residence at Récollets, Paris (2016), D-Flat, CDMX (2016), Headlands Center for the Arts (2015), 18th Street Arts Center (2014), and Fondazione Antonio Ratti (2013). 

Patricia Fernández – Box (a proposition for ten years) Once a year since 2013, “Box (a proposition for ten years)” for Commonwealth and Council is exhibited with its contents (re-purposed fragments, writings, drawings, paintings, and sculptural elements) as they accumulate, transform, and grow. Through this time-based sculpture, Patricia Fernández fosters a relationship with the space by proposing a personalized exchange system. For our 6th anniversary, “Box” will be presented at Tina Kim Gallery (NY) in a group exhibition titled “Commonwealth and Council” opening on June 28, 2018.   In the front room at Commonwealth and Council, Fernández presents new additions to the “Box” including a daybed with a shelf that holds a porcelain vessel, a postcard, and a model bone ship. A series of sleep paintings hangs amid curtains with embroidered images drawn from a year of dream transcription from Jungian analysis.   The daybed calls us to sleep. Fernández took this to heart while making the bed, napping and sleeping in it. The headboard, bearing “X” marks like those carved by Fernández’s grandfather, closes around the bed to create another box resembling a chamber, chest, or coffin. Visions of last year’s Perseid meteors, or Tears of St. Lawrence, emblazon the porcelain vessel, combining the myth of Perseus, cast to the sea with his mother in a wooden chest, and the story of St. Lawrence, who cried burning tears. The proposed ship will be made from human bones, and one day carry the artist, her friends, and their posterity to the Island of Formentera, to spend time together among its caves and underground passageways. The wells of Santa Casilda appear on a postcard. The artist and her grandfather, whose carvings are also found there, make an annual pilgrimage to dip their hands in the healing waters.   Fernández began painting sleepers when a found photo led her to portray St. Casilda in repose. These paintings access the peculiar vulnerability of their unconscious subjects, offered here against a sea of blue, in praise of sleep—where dreams, like death, may carry us toward eternal rest. Patricia Fernández (b. 1980 in Burgos, Spain; lives and works in Los Angeles) studied at Central Saint Martins, London, and the University of California, Los Angeles, and received an MFA from the California Institute of the Arts (2010). Fernández has exhibited her work at the Orange County Museum of Art, Newport Beach; Centro de Arte Caja de Burgos, Spain; LA><ART, Los Angeles; Los Angeles Contemporary Archive (LACA); and the Hammer Museum, Los Angeles. She is a recipient of the Pollock-Krasner Grant (2017), Lincoln City Fellowship (2015), France Los Angeles Exchange (FLAX) Grant (2012), California Community Foundation Fellowship (2011), and Joan Mitchell Grant (2010), and was Artist-in-Residence at Récollets, Paris (2016), D-Flat, CDMX (2016), Headlands Center for the Arts (2015), 18th Street Arts Center (2014), and Fondazione Antonio Ratti (2013). 
Barbara Bloom | Andrea Fraser | Louise Lawler
Barbara Bloom | Andrea Fraser | Louise Lawler
Los Angeles - 8687 Melrose Avenue
until 15-07-2018

Barbara Bloom, Andrea Fraser, Louise Lawler – Décor The exhibition is centered around Bloom’s rarely seen The Reign of Narcissism (1988-89), a full-scale faux-neoclassical period room dedicated to a fictionalized version of the artist. Replete with crown moldings, gilded chairs, vanity mirrors, and plaster busts of the artist, the installation revels in the slippage between interior decorating and museum display. Videos and photographs by Lawler and Fraser focus on images of art in museums and the typically overlooked architectural details of institutions, with both artists invested in exploring the myriad ways décor—the arrangement of objects in space—carries meaning.  – Rebecca Matalon, MOCA

Barbara Bloom, Andrea Fraser, Louise Lawler – Décor The exhibition is centered around Bloom’s rarely seen The Reign of Narcissism (1988-89), a full-scale faux-neoclassical period room dedicated to a fictionalized version of the artist. Replete with crown moldings, gilded chairs, vanity mirrors, and plaster busts of the artist, the installation revels in the slippage between interior decorating and museum display. Videos and photographs by Lawler and Fraser focus on images of art in museums and the typically overlooked architectural details of institutions, with both artists invested in exploring the myriad ways décor—the arrangement of objects in space—carries meaning.  – Rebecca Matalon, MOCA
Cecilia Salama
Cecilia Salama
Los Angeles - 7313 Melrose Avenue
until 09-06-2018

Cecilia Salama – in the name of love AA|LA is pleased to announce in the name of love, an exhibition of new works by Cecilia Salama. Examining the extreme policing of bodies and interpersonal communication, Salama presents examples in which coerced consent and involuntary transparency replace love, trust and safety in contemporary society.    These concepts of consent and transparency are embodied in the video installation, The Back of my Hand and Two Fingers. The video and accompanying printed rug intersperses furtive recordings of the artist being subjected to a TSA pat down with gameplay footage from Grand Theft Auto. The video game screen captures portray a prisoner unable to escape a jail cell as well as a first-person strip-club encounter. These examples of intimate touching highlight the lack of autonomy over one’s body under dominant structures in contemporary society.    In a series of aluminum prints, Salama introduces three objects bound by their feminine aesthetic: a hot pink "burner" phone, a pink latex glove, and a platform heel decorated with butterfly charms. CZ Phone features the namesake item, which is the most commonly smuggled model of cellphone into penitentiaries. The width of a finger, it is small enough to fit inside a body cavity. Pre-Check presents a pink latex glove that is employed by the TSA during breast cancer awareness month for a highly invasive pat down. Mostly done in public and surrounded by other travelers, a TSA pat down subjects the flyer through a routine of forced but naturalized touching. The “back of the hand” is a frequent gesture used to make the encounter feel less personal, sexual, and invasive. Pleaser, referring to the pink “pleaser” stripper shoe, alludes to the tiered system of consensual touching at strip-clubs that varies based on the amount a client pays. The feminine aesthetic of the objects—the pink and pastel colors, charming size and shapes—conceals their complicated position within male-dominated systems.   Salama further contrasts aggressive and delicate forms in her sculptural works. in the name of love features floral imagery printed on weighted velvet. The fabric is constrained by baby blue cargo straps in an imposing vitrine that is repeatedly engraved with title of the work. For Kathryn consists of a chalky resin head and an acetate rod wrapped in chains, surrounded on the floor by heart-shaped locks and keys. A staff that can be wielded as a symbol of violent power, its dominance is undermined by its pink color and submissive placement.    Cecilia Salama (b. 1990 London, England) is an artist and curator based in New York. Salama's practice ruminates on romantic fantasy, obsession, consumerism and femininity and how these concepts have been affected by our constant use of the internet.  Her work has been reviewed by I-D, Vice, Hyperallergic, ArtNews, and Artspace, and been published in the latest issue of Tunica Magazine. Select group and solo exhibitions include NADA NY, Ed Varie LA, Anna Jill Lupertz Gallery in Berlin, 315 Gallery, and Rice University.  

Cecilia Salama – in the name of love AA|LA is pleased to announce in the name of love, an exhibition of new works by Cecilia Salama. Examining the extreme policing of bodies and interpersonal communication, Salama presents examples in which coerced consent and involuntary transparency replace love, trust and safety in contemporary society.    These concepts of consent and transparency are embodied in the video installation, The Back of my Hand and Two Fingers. The video and accompanying printed rug intersperses furtive recordings of the artist being subjected to a TSA pat down with gameplay footage from Grand Theft Auto. The video game screen captures portray a prisoner unable to escape a jail cell as well as a first-person strip-club encounter. These examples of intimate touching highlight the lack of autonomy over one’s body under dominant structures in contemporary society.    In a series of aluminum prints, Salama introduces three objects bound by their feminine aesthetic: a hot pink "burner" phone, a pink latex glove, and a platform heel decorated with butterfly charms. CZ Phone features the namesake item, which is the most commonly smuggled model of cellphone into penitentiaries. The width of a finger, it is small enough to fit inside a body cavity. Pre-Check presents a pink latex glove that is employed by the TSA during breast cancer awareness month for a highly invasive pat down. Mostly done in public and surrounded by other travelers, a TSA pat down subjects the flyer through a routine of forced but naturalized touching. The “back of the hand” is a frequent gesture used to make the encounter feel less personal, sexual, and invasive. Pleaser, referring to the pink “pleaser” stripper shoe, alludes to the tiered system of consensual touching at strip-clubs that varies based on the amount a client pays. The feminine aesthetic of the objects—the pink and pastel colors, charming size and shapes—conceals their complicated position within male-dominated systems.   Salama further contrasts aggressive and delicate forms in her sculptural works. in the name of love features floral imagery printed on weighted velvet. The fabric is constrained by baby blue cargo straps in an imposing vitrine that is repeatedly engraved with title of the work. For Kathryn consists of a chalky resin head and an acetate rod wrapped in chains, surrounded on the floor by heart-shaped locks and keys. A staff that can be wielded as a symbol of violent power, its dominance is undermined by its pink color and submissive placement.    Cecilia Salama (b. 1990 London, England) is an artist and curator based in New York. Salama's practice ruminates on romantic fantasy, obsession, consumerism and femininity and how these concepts have been affected by our constant use of the internet.  Her work has been reviewed by I-D, Vice, Hyperallergic, ArtNews, and Artspace, and been published in the latest issue of Tunica Magazine. Select group and solo exhibitions include NADA NY, Ed Varie LA, Anna Jill Lupertz Gallery in Berlin, 315 Gallery, and Rice University.  
Albert Oehlen & Peppi Bottrop
Albert Oehlen & Peppi Bottrop
Los Angeles - 4357 Wilshire Boulevard
until 30-06-2018

Albert Oehlen & Peppi Bottrop – Line Packers” The Marciano Art Foundation presents Line Packers”, a special exhibition, conceived by Cornelius Tittel, of two German painters Peppi Bottrop (b. 1986, Bottrop) and Albert Oehlen (b. 1954, Krefeld). Beginning March 1, the foundation’s Lounge Gallery will feature Bottrop’s line-drawing paintings responding to the architecture of the Lounge Gallery itself alongside works from Oehlen’s Computer Paintings, a series that the artist began in the early 1990s, which is now regarded as a turning point for contemporary painting. Bottrop’s work is conceived as a meditation on his hometown, a once prominent coal mining and rail center in the Ruhr region. Bottrop employs charcoal—a metaphor for what once powered the world, and a nod to the now-defunct mechanical industry—in an expansive wall-drawing engraved into slabs of Fermacell, a material now replacing sheetrock or gypsum used in the construction of institutional architecture. Oehlen’s Computer Paintings, which will be affixed to Bottrop’s walls, made between 1992 and 2008, exemplify Oehlen’s pioneering role as one of the first contemporary painters to explore the nascent capabilities and limits of drawing and line-making through the use of a now-rudimentary Texas Instruments computer. The wall-drawings and supports by Bottrop juxtaposed with Oehlen’s Computer Paintings suggest new possibilities for the line in painting. This line, embedded materially into the Fermacell walls, offers a proposition for the medium of painting to re-define itself. The two autonomous, yet mutually-dependent works establish a place of intensive communication and self-exploration, supporting one another in this single, temporary unification that looks to Wilshire Blvd. and Los Angeles, a city that is just as easily defined by its own lines of interstate and highway infrastructure. Accompanying this exhibition will be a new text by the arts writer and science fiction novelist, Mark von Schlegell. Albert Oehlen was born in Krefeld, Germany in 1954, and lives and works in Switzerland. From 1978 to 1981 he studied at Hochschule für Bildende Künste, Hamburg. From 2000 to 2009, Oehlen owned a Professorship in Painting at the Kunstakademie in Düsseldorf. Albert Oehlen´s work was included in the 55th Biennale di Venezia in 2013 and 2018 will see a major retrospective of Oehlen’s work opening at the Pinault Collection, Palazzo Grassi in Venice. Peppi Bottrop was born 1986 in Bottrop, Germany and lives and works in Düsseldorf, where he graduated from the Kunstakademie Düsseldorf. Bottrop is known for his large site-specific graphite and charcoal drawings on different carriers like canvas and Fermacell boards. His most recent body of work explores socio-economical shifts linked to architecture, city planning and property development. His work has been shown in numerous solo and group shows including Jan Kaps, Cologne; Galerie Bernhard, Zurich; Saloon, Brussels; Fondazione Carriero Milan and Museum Quadrat, Bottrop amongst others.  

Albert Oehlen & Peppi Bottrop – Line Packers” The Marciano Art Foundation presents Line Packers”, a special exhibition, conceived by Cornelius Tittel, of two German painters Peppi Bottrop (b. 1986, Bottrop) and Albert Oehlen (b. 1954, Krefeld). Beginning March 1, the foundation’s Lounge Gallery will feature Bottrop’s line-drawing paintings responding to the architecture of the Lounge Gallery itself alongside works from Oehlen’s Computer Paintings, a series that the artist began in the early 1990s, which is now regarded as a turning point for contemporary painting. Bottrop’s work is conceived as a meditation on his hometown, a once prominent coal mining and rail center in the Ruhr region. Bottrop employs charcoal—a metaphor for what once powered the world, and a nod to the now-defunct mechanical industry—in an expansive wall-drawing engraved into slabs of Fermacell, a material now replacing sheetrock or gypsum used in the construction of institutional architecture. Oehlen’s Computer Paintings, which will be affixed to Bottrop’s walls, made between 1992 and 2008, exemplify Oehlen’s pioneering role as one of the first contemporary painters to explore the nascent capabilities and limits of drawing and line-making through the use of a now-rudimentary Texas Instruments computer. The wall-drawings and supports by Bottrop juxtaposed with Oehlen’s Computer Paintings suggest new possibilities for the line in painting. This line, embedded materially into the Fermacell walls, offers a proposition for the medium of painting to re-define itself. The two autonomous, yet mutually-dependent works establish a place of intensive communication and self-exploration, supporting one another in this single, temporary unification that looks to Wilshire Blvd. and Los Angeles, a city that is just as easily defined by its own lines of interstate and highway infrastructure. Accompanying this exhibition will be a new text by the arts writer and science fiction novelist, Mark von Schlegell. Albert Oehlen was born in Krefeld, Germany in 1954, and lives and works in Switzerland. From 1978 to 1981 he studied at Hochschule für Bildende Künste, Hamburg. From 2000 to 2009, Oehlen owned a Professorship in Painting at the Kunstakademie in Düsseldorf. Albert Oehlen´s work was included in the 55th Biennale di Venezia in 2013 and 2018 will see a major retrospective of Oehlen’s work opening at the Pinault Collection, Palazzo Grassi in Venice. Peppi Bottrop was born 1986 in Bottrop, Germany and lives and works in Düsseldorf, where he graduated from the Kunstakademie Düsseldorf. Bottrop is known for his large site-specific graphite and charcoal drawings on different carriers like canvas and Fermacell boards. His most recent body of work explores socio-economical shifts linked to architecture, city planning and property development. His work has been shown in numerous solo and group shows including Jan Kaps, Cologne; Galerie Bernhard, Zurich; Saloon, Brussels; Fondazione Carriero Milan and Museum Quadrat, Bottrop amongst others.  
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
Laura Marsh
Laura Marsh
Miami - 3852 North Miami Avenue
until 09-06-2018

Laura Marsh – New Havens Locust Projects is pleased to present New Havens, an immersive installation series about artist-centered placemaking by Miami-based artist Laura Marsh. The exhibition is comprised of three mini-installations situated within the Project Room, providing a village of interactive experiences connected together by Marsh’s passion to create spaces that artists can exist within. The installation will act as an incubator for happenings and dialogues hosted by the artist and privileging the voices of the local creative community.   Laura Marsh is is a current resident at ArtCenter / South Florida and upcoming resident at the Siena Arts Institute. Marsh received her MFA from Yale University School of Art and a BFA from the Cleveland Institute of Art. Marsh has exhibited nationally at venues including: Dimensions Variable, Miami, the Whitney Museum of American Art, Printed Matter, Field Projects, Newman Popiashvili Gallery, and Tilton Gallery in NY. She is the Curator of Exhibitions at the Art and Culture Center in Hollywood, FL.

Laura Marsh – New Havens Locust Projects is pleased to present New Havens, an immersive installation series about artist-centered placemaking by Miami-based artist Laura Marsh. The exhibition is comprised of three mini-installations situated within the Project Room, providing a village of interactive experiences connected together by Marsh’s passion to create spaces that artists can exist within. The installation will act as an incubator for happenings and dialogues hosted by the artist and privileging the voices of the local creative community.   Laura Marsh is is a current resident at ArtCenter / South Florida and upcoming resident at the Siena Arts Institute. Marsh received her MFA from Yale University School of Art and a BFA from the Cleveland Institute of Art. Marsh has exhibited nationally at venues including: Dimensions Variable, Miami, the Whitney Museum of American Art, Printed Matter, Field Projects, Newman Popiashvili Gallery, and Tilton Gallery in NY. She is the Curator of Exhibitions at the Art and Culture Center in Hollywood, FL.
Lucy Skaer
Lucy Skaer
New York - 140 Grand Street
until 02-06-2018

Lucy Skaer – Sentiment Peter Freeman, Inc. is pleased to present Lucy Skaer: Sentiment, the British artist’s second solo exhibition with the gallery in New York. Throughout her practice, in sculpture, print, and film, Skaer mines and manipulates preexisting imagery—from art, from history, and from her own oeuvre and personal history—transforming and destabilizing straightforward readings of the original source material and the resulting works. In this exhibition she explores the role of feeling, emotion and subjectivity in how we experience objects, images, or situations, despite degrees of abstraction or transmutation. In La Chasse (2017), abstract sculptures—comprised of elements like ingots and lozenges, forms that Skaer has used in previous sculptures—are adapted to mimic sentient animals. In refiguring the forms as quarry, the subject that the sculpture depicts becomes both less legitimate and more sympathetic. The idea is based in part on miniature illuminations from the Le livre de chasse, a medieval transcript on Renaissance hunting techniques from 1331-1391. Those images of observation, capture and slaughter both create and satisfy desire: the hunted animals appear on the page as if they are already tasty morsels on a plate. Using the analogy of the hunt in sculpture, Skaer draws a parallel between creation and death, animate and inanimate, and legibility and abstraction. Each animal reads as a being, but is nearly unidentifiable save one small realistically-rendered body part or gesture that each bears. Also on view is a new series of cast-bronze sculptures, abstract in form and hand-painted to represent the natural elements, rain, snow, and wind for example. Through these representations of fleeting states of weather, Skaer explores how and what can be embodied in form, she plays with how far into abstraction she can venture while leaving some semblance of the thing identifiable, and with that, the sentiment that one ascribes to it from their own experiences.   In works from an ongoing project she began in 2012, Skaer uses elements from her childhood home (where her father still resides) such as wooden floor boards, windows and doors and reconfigures them into boxes, cubes, or slabs, embellishing them with fine materials, replacing glass panes with lapis lazuli, and embedding objects from her father’s various collections of disperate objects. She is performing a displacement of memory – her old door is no longer a door and the new door is not the door of her memory. Sentiment in art would seem more concurrent with the year the house was built (c. 1825) than now; however, sentiment in its multiple definitions—as a subjective, deeply personal response, but also as an attachment to an idea that is believed to be true without positive knowledge—has a great deal of relevance in a post-truth era. Lucy Skaer was born in Cambridge, England in 1975. She earned her degree at the Glasgow School of Art, and in recent years has developed a considerable international reputation. Recent solo exhibitions have been mounted at KW Institute for Contemporary Art, Berlin (2017-2018; travelled to Salzburger Kunstverein, 2018), Museo Tamayo, México City (2017), MRAC Serignan, France (2017), Musees Gallo Romains, Lyon (2016), Tramway, Glasgow (2013), Yale Union, Portland (2013), Kunsthalle Wien (2012), Kunsthalle Basel (2009), Chisenhale Gallery, London (2008) and Fruitmarket Gallery, Edinburgh (2008). She has been included in numerous international group exhibitions at venues including Documenta 14 (2017) with Rosalind Nashsashibi, The Renaissance Society, Chicago (2013), The Metropolitan Museum of Art (2013), Carnegie Museum of Art, Pittsburgh (2010), Centre Georges Pompidou, Paris (2010), and K21 Düsseldorf (2010), Tate Britain (2009), the 5th Berlin Biennale (2008), and the 52nd Venice Biennale (2007).

Lucy Skaer – Sentiment Peter Freeman, Inc. is pleased to present Lucy Skaer: Sentiment, the British artist’s second solo exhibition with the gallery in New York. Throughout her practice, in sculpture, print, and film, Skaer mines and manipulates preexisting imagery—from art, from history, and from her own oeuvre and personal history—transforming and destabilizing straightforward readings of the original source material and the resulting works. In this exhibition she explores the role of feeling, emotion and subjectivity in how we experience objects, images, or situations, despite degrees of abstraction or transmutation. In La Chasse (2017), abstract sculptures—comprised of elements like ingots and lozenges, forms that Skaer has used in previous sculptures—are adapted to mimic sentient animals. In refiguring the forms as quarry, the subject that the sculpture depicts becomes both less legitimate and more sympathetic. The idea is based in part on miniature illuminations from the Le livre de chasse, a medieval transcript on Renaissance hunting techniques from 1331-1391. Those images of observation, capture and slaughter both create and satisfy desire: the hunted animals appear on the page as if they are already tasty morsels on a plate. Using the analogy of the hunt in sculpture, Skaer draws a parallel between creation and death, animate and inanimate, and legibility and abstraction. Each animal reads as a being, but is nearly unidentifiable save one small realistically-rendered body part or gesture that each bears. Also on view is a new series of cast-bronze sculptures, abstract in form and hand-painted to represent the natural elements, rain, snow, and wind for example. Through these representations of fleeting states of weather, Skaer explores how and what can be embodied in form, she plays with how far into abstraction she can venture while leaving some semblance of the thing identifiable, and with that, the sentiment that one ascribes to it from their own experiences.   In works from an ongoing project she began in 2012, Skaer uses elements from her childhood home (where her father still resides) such as wooden floor boards, windows and doors and reconfigures them into boxes, cubes, or slabs, embellishing them with fine materials, replacing glass panes with lapis lazuli, and embedding objects from her father’s various collections of disperate objects. She is performing a displacement of memory – her old door is no longer a door and the new door is not the door of her memory. Sentiment in art would seem more concurrent with the year the house was built (c. 1825) than now; however, sentiment in its multiple definitions—as a subjective, deeply personal response, but also as an attachment to an idea that is believed to be true without positive knowledge—has a great deal of relevance in a post-truth era. Lucy Skaer was born in Cambridge, England in 1975. She earned her degree at the Glasgow School of Art, and in recent years has developed a considerable international reputation. Recent solo exhibitions have been mounted at KW Institute for Contemporary Art, Berlin (2017-2018; travelled to Salzburger Kunstverein, 2018), Museo Tamayo, México City (2017), MRAC Serignan, France (2017), Musees Gallo Romains, Lyon (2016), Tramway, Glasgow (2013), Yale Union, Portland (2013), Kunsthalle Wien (2012), Kunsthalle Basel (2009), Chisenhale Gallery, London (2008) and Fruitmarket Gallery, Edinburgh (2008). She has been included in numerous international group exhibitions at venues including Documenta 14 (2017) with Rosalind Nashsashibi, The Renaissance Society, Chicago (2013), The Metropolitan Museum of Art (2013), Carnegie Museum of Art, Pittsburgh (2010), Centre Georges Pompidou, Paris (2010), and K21 Düsseldorf (2010), Tate Britain (2009), the 5th Berlin Biennale (2008), and the 52nd Venice Biennale (2007).
Matthew Brannon
Matthew Brannon
New York - 121 W 27th Street
until 16-06-2018

Matthew Brannon – Concerning Vietnam Casey Kaplan is pleased to announce Matthew Brannon: Concerning Vietnam, the artist’s second solo exhibition rooted in an ongoing, research-based exploration of the Vietnam/American War. Six large-scale, unique works on paper, punctuated by a new series of ephemera-sourced paintings, chronicle the political and cultural narratives of a complex history. Brannon’s graphic style lends itself to a visual deconstruction of decisions made and fallouts endured between the years of 1954 and 1973. With traditional silkscreen printing techniques as well as hand-painting, the artist layers hundreds of screens in an intricate network of overlapping and boldly colored objects. Image and language intersect in evocations of dual meanings and underlying narrative. Tackling an anthology of collected information, Brannon sets the stage in 1954. From the aerial, first-person perspective of Dwight D. Eisenhower’s presidential desk, as seen in “Concerning Vietnam: Oval Office, April 1954”, the artist creates a panorama of imagery relating to the origins of American involvement in Southeast Asia. Oversized dimensional letters spelling out DIEN BIEN PHU (the locale of the culminating battle of the French War in Vietnam) looms over a detailed map of Indochina. Two cartoon vultures, from the 1967 Disney film “The Jungle Book,” are perched on the letters in reference to Opération Vautour (the NSC’s nonstarter plan to rescue French troops in Vietnam). Brannon translates his research into both literal and personified objects that are at once floating in space and grounded with cinematic perspective. A row of dominoes, branded with the names of countries, illustrates Eisenhower’s oft-quoted rationale of the Cold War (positing that political events in one country will cause similar events in neighboring countries). Connections exist from one image to the next, each element part of a holistic whole in addressing history. Processing information with a chronological logic, Brannon jumps forward to 1967 with Lyndon B. Johnson. Set as the anti-war protests reach a fever pitch, “Concerning Vietnam: Oval Office, October 1967” addresses Johnson’s role amongst a fierce backlash from the American and international public. A composite of rally signs exists as a banner spanning the width of the composition. Words of protest are coupled with an airdrop 175lb ‘general purpose’ bomb (the problematic panacea of U.S. military strategy). In the forefront, an actual house of cards labeled with the words Marigold, Sunflower, and Pennsylvania refers to the failure of three secret peace talks to open channels of communication between the U.S. and North Vietnam. Brannon’s signature methodology of years past, based in antithetical pairings of consumerist and pop-cultural idioms, does not falter despite the labyrinth of material. In Brannon’s work, discreet information is never discreet. In 1973, the deck of cards falls as Richard Nixon’s presidency unravels alongside some of his greatest triumphs: his landslide reelection in 1972 and the signing of the 1973 peace treaty. In “Concerning Vietnam: Oval Office, January 1973”, the Agreement on Ending the War & Restoring the Peace in Vietnam serves as a gravitational force and conceptual disturbance in the center of Nixon’s desk. Orbiting the signatures of the agreement are objects ranging from a football helmet and a model B52 Stratofortress, alluding to Nixon’s fraught machismo, and an unplugged extension cord i.e. the severing of war funds. Set against a black background, the objects speak to a moment for celebration that was overshadowed by one of opacity and bewilderment. For Brannon, it is this psychological haze of contradicting emotions that forms the basis of his undertaking in historical narration. Shifting from the decision-makers to the personal plights of those on the front lines, Brannon presents “Concerning Vietnam: Bell UH-1D Iroquois, Cockpit (II)”, a massive two-sheet work on paper. The presidential viewpoint of the desk is translated to that of a helicopter pilot’s dashboard. Against a shocking purple-and-pink psychedelic background, the viewer is met with a landscape of dials and switches — evidence of the billions of dollars the U.S. invested in military technology and firepower. The reality of warfare is countered by hints of innocence in the form of personal items left on the window ledge and stacked on an empty seat, humanizing the narrative. Approaching his research as a visual artist, Brannon is attune to peripheral material found along the way. A new series of ephemera-sourced paintings are interspersed amongst the silkscreens. Memorabilia such as Newsweek, TV Guide and LIFE magazines are photographed, printed onto archival paper on a 1/1 scale, and embedded within pigment rich oil-painted linen panels. The works serve as lush colorfield paintings and frameworks for the litter of American culture, existing as both object and carbon copy. Sourced from various locales, each object contains its own trail of ownership, and Brannon’s intersection between personal narrative and historical significance continues.

Matthew Brannon – Concerning Vietnam Casey Kaplan is pleased to announce Matthew Brannon: Concerning Vietnam, the artist’s second solo exhibition rooted in an ongoing, research-based exploration of the Vietnam/American War. Six large-scale, unique works on paper, punctuated by a new series of ephemera-sourced paintings, chronicle the political and cultural narratives of a complex history. Brannon’s graphic style lends itself to a visual deconstruction of decisions made and fallouts endured between the years of 1954 and 1973. With traditional silkscreen printing techniques as well as hand-painting, the artist layers hundreds of screens in an intricate network of overlapping and boldly colored objects. Image and language intersect in evocations of dual meanings and underlying narrative. Tackling an anthology of collected information, Brannon sets the stage in 1954. From the aerial, first-person perspective of Dwight D. Eisenhower’s presidential desk, as seen in “Concerning Vietnam: Oval Office, April 1954”, the artist creates a panorama of imagery relating to the origins of American involvement in Southeast Asia. Oversized dimensional letters spelling out DIEN BIEN PHU (the locale of the culminating battle of the French War in Vietnam) looms over a detailed map of Indochina. Two cartoon vultures, from the 1967 Disney film “The Jungle Book,” are perched on the letters in reference to Opération Vautour (the NSC’s nonstarter plan to rescue French troops in Vietnam). Brannon translates his research into both literal and personified objects that are at once floating in space and grounded with cinematic perspective. A row of dominoes, branded with the names of countries, illustrates Eisenhower’s oft-quoted rationale of the Cold War (positing that political events in one country will cause similar events in neighboring countries). Connections exist from one image to the next, each element part of a holistic whole in addressing history. Processing information with a chronological logic, Brannon jumps forward to 1967 with Lyndon B. Johnson. Set as the anti-war protests reach a fever pitch, “Concerning Vietnam: Oval Office, October 1967” addresses Johnson’s role amongst a fierce backlash from the American and international public. A composite of rally signs exists as a banner spanning the width of the composition. Words of protest are coupled with an airdrop 175lb ‘general purpose’ bomb (the problematic panacea of U.S. military strategy). In the forefront, an actual house of cards labeled with the words Marigold, Sunflower, and Pennsylvania refers to the failure of three secret peace talks to open channels of communication between the U.S. and North Vietnam. Brannon’s signature methodology of years past, based in antithetical pairings of consumerist and pop-cultural idioms, does not falter despite the labyrinth of material. In Brannon’s work, discreet information is never discreet. In 1973, the deck of cards falls as Richard Nixon’s presidency unravels alongside some of his greatest triumphs: his landslide reelection in 1972 and the signing of the 1973 peace treaty. In “Concerning Vietnam: Oval Office, January 1973”, the Agreement on Ending the War & Restoring the Peace in Vietnam serves as a gravitational force and conceptual disturbance in the center of Nixon’s desk. Orbiting the signatures of the agreement are objects ranging from a football helmet and a model B52 Stratofortress, alluding to Nixon’s fraught machismo, and an unplugged extension cord i.e. the severing of war funds. Set against a black background, the objects speak to a moment for celebration that was overshadowed by one of opacity and bewilderment. For Brannon, it is this psychological haze of contradicting emotions that forms the basis of his undertaking in historical narration. Shifting from the decision-makers to the personal plights of those on the front lines, Brannon presents “Concerning Vietnam: Bell UH-1D Iroquois, Cockpit (II)”, a massive two-sheet work on paper. The presidential viewpoint of the desk is translated to that of a helicopter pilot’s dashboard. Against a shocking purple-and-pink psychedelic background, the viewer is met with a landscape of dials and switches — evidence of the billions of dollars the U.S. invested in military technology and firepower. The reality of warfare is countered by hints of innocence in the form of personal items left on the window ledge and stacked on an empty seat, humanizing the narrative. Approaching his research as a visual artist, Brannon is attune to peripheral material found along the way. A new series of ephemera-sourced paintings are interspersed amongst the silkscreens. Memorabilia such as Newsweek, TV Guide and LIFE magazines are photographed, printed onto archival paper on a 1/1 scale, and embedded within pigment rich oil-painted linen panels. The works serve as lush colorfield paintings and frameworks for the litter of American culture, existing as both object and carbon copy. Sourced from various locales, each object contains its own trail of ownership, and Brannon’s intersection between personal narrative and historical significance continues.
Arthur Jafa
Arthur Jafa
New York - 439 W 127 Street
until 10-06-2018

Arthur Jafa – Air Above Mountains (Buildings Within)   

Arthur Jafa – Air Above Mountains (Buildings Within)   
Radical Women
Radical Women
New York - 200 Eastern Parkway
until 22-07-2018

Radical Women: Latin American Art, 1960–1985 The Brooklyn Museum presents Radical Women: Latin American Art, 1960–1985, the first comprehensive exhibition to explore the pioneering artistic practices of Latin American and Latina women artists during a tumultuous and transformational period in the history of the Americas and the development of contemporary art. Radical Women includes more than 260 works—including photography, video, and other experimental mediums, as well as paintings, sculpture, and prints—by more than 120 artists working in 15 countries. The Brooklyn Museum is the only East Coast venue of this critically acclaimed exhibition organized by the Hammer Museum in Los Angeles. Addressing an art-historical vacuum, one that has largely excluded Latin American and US-based Latina women artists from the record, Radical Women highlights work created during a period of profound political and social turmoil in many Latin American countries in the 1960s, 1970s, and early 1980s, a period that saw the emergence of multiple dictatorships as well as significant and often subversive interventions by the government of the United States. The artworks in Radical Women can be viewed as heroic acts giving voice to generations of women across Latin America and the United States. Proposing both aesthetic and political radicality, the work in the exhibition foregrounds feminist concerns such as bodily autonomy, oppressive social norms, gendered violence, and the environment.

Radical Women: Latin American Art, 1960–1985 The Brooklyn Museum presents Radical Women: Latin American Art, 1960–1985, the first comprehensive exhibition to explore the pioneering artistic practices of Latin American and Latina women artists during a tumultuous and transformational period in the history of the Americas and the development of contemporary art. Radical Women includes more than 260 works—including photography, video, and other experimental mediums, as well as paintings, sculpture, and prints—by more than 120 artists working in 15 countries. The Brooklyn Museum is the only East Coast venue of this critically acclaimed exhibition organized by the Hammer Museum in Los Angeles. Addressing an art-historical vacuum, one that has largely excluded Latin American and US-based Latina women artists from the record, Radical Women highlights work created during a period of profound political and social turmoil in many Latin American countries in the 1960s, 1970s, and early 1980s, a period that saw the emergence of multiple dictatorships as well as significant and often subversive interventions by the government of the United States. The artworks in Radical Women can be viewed as heroic acts giving voice to generations of women across Latin America and the United States. Proposing both aesthetic and political radicality, the work in the exhibition foregrounds feminist concerns such as bodily autonomy, oppressive social norms, gendered violence, and the environment.
Claire Fontaine
Claire Fontaine
New York - 1329 Willoughby Avenue
until 29-07-2018

Claire Fontaine – Invisible Receivers Century Pictures is pleased to announce an exhibition featuring a sculptural installation by French artist collective Claire Fontaine. All over our country, and others, tennis balls containing either contraband, or miscellaneous sundry items are often flung over prison walls into exercise yards by loved ones, friends or cohorts.  The act can be a brazen one, passing over a known commodity to an anonymous receiver for future exploitation, or it can be one of compassion, a transfer of a little comfort or convenience of home that the giver hopes, will perhaps make imprisonment slightly less brutal.   Untitled (Tennis Ball Sculpture) presents the viewer with an, “exploration of work as the inside of prison and of prison as the outside of work” as Claire Fontaine puts it. The implication of violence is ever-present as the installation reveals its contents through gashes. Spilling out of bright receptacles are an array of everyday items: matches, pencils, cigarette filters, sweets, and string that are lodged into tennis balls, conjuring the deficit and inhumanity of the industrial-prison complex. Loved ones, as reported by news sources, defy security checkpoints and risk imprisonment themselves in order to send everything from narcotics to writing utensils from the 'outside.' Claire Fontaine, the name itself a readymade sourced from the ubiquitous French stationary company, use this staging to call attention to broken systems in and of language, labor, and culture. The mass of tennis balls act here both as vehicle and receptacle, but of what? As she, the collective’s chosen pronoun, remarks, “there is a poverty in these presents sent to invisible receivers that transports us into a forgotten universe of deprivation and violence.” Claire Fontaine is a Paris-based collective, founded in 2004. Fontaine has had one-person exhibitions at CCA Wattis Institute, San Francisco; Museo Tamayo, Mexico City; the Jewish Museum, New York; Palais de Tokyo, Paris; Witte de With Center for Contemporary Art, Rotterdam; and Kunsthalle Zurich. Her work has been included in group exhibitions at the Columbus Museum of Art, Ohio; Museum of Contemporary Art Detroit; Centre Pompidou, Paris; 21er Haus, Vienna; KW Institute for Contemporary Art, Berlin; Maison Rouge, Paris; Colección Jumex, Mexico City; and CAPC Musée d'Art Contemporain, Bordeaux, and in the 2016 Whitney Biennial at The Whitney Museum of American Art. Claire Fontaine’s publication "Human Strike Has Already Begun & Other Writings" (2013) is available for free download at metamute.org.

Claire Fontaine – Invisible Receivers Century Pictures is pleased to announce an exhibition featuring a sculptural installation by French artist collective Claire Fontaine. All over our country, and others, tennis balls containing either contraband, or miscellaneous sundry items are often flung over prison walls into exercise yards by loved ones, friends or cohorts.  The act can be a brazen one, passing over a known commodity to an anonymous receiver for future exploitation, or it can be one of compassion, a transfer of a little comfort or convenience of home that the giver hopes, will perhaps make imprisonment slightly less brutal.   Untitled (Tennis Ball Sculpture) presents the viewer with an, “exploration of work as the inside of prison and of prison as the outside of work” as Claire Fontaine puts it. The implication of violence is ever-present as the installation reveals its contents through gashes. Spilling out of bright receptacles are an array of everyday items: matches, pencils, cigarette filters, sweets, and string that are lodged into tennis balls, conjuring the deficit and inhumanity of the industrial-prison complex. Loved ones, as reported by news sources, defy security checkpoints and risk imprisonment themselves in order to send everything from narcotics to writing utensils from the 'outside.' Claire Fontaine, the name itself a readymade sourced from the ubiquitous French stationary company, use this staging to call attention to broken systems in and of language, labor, and culture. The mass of tennis balls act here both as vehicle and receptacle, but of what? As she, the collective’s chosen pronoun, remarks, “there is a poverty in these presents sent to invisible receivers that transports us into a forgotten universe of deprivation and violence.” Claire Fontaine is a Paris-based collective, founded in 2004. Fontaine has had one-person exhibitions at CCA Wattis Institute, San Francisco; Museo Tamayo, Mexico City; the Jewish Museum, New York; Palais de Tokyo, Paris; Witte de With Center for Contemporary Art, Rotterdam; and Kunsthalle Zurich. Her work has been included in group exhibitions at the Columbus Museum of Art, Ohio; Museum of Contemporary Art Detroit; Centre Pompidou, Paris; 21er Haus, Vienna; KW Institute for Contemporary Art, Berlin; Maison Rouge, Paris; Colección Jumex, Mexico City; and CAPC Musée d'Art Contemporain, Bordeaux, and in the 2016 Whitney Biennial at The Whitney Museum of American Art. Claire Fontaine’s publication "Human Strike Has Already Begun & Other Writings" (2013) is available for free download at metamute.org.
Tomás Saraceno
Tomás Saraceno
New York - 521 West 21st Street
until 02-06-2018

Tomás Saraceno Tanya Bonakdar Gallery is pleased to present its sixth solo exhibition with Tomás Saraceno. The Berlin-based Argentine artist will present a comprehensive and expansive body of new sculptural and installation works. Saraceno’s works continue to propose new, sustainable ideas for how we inhabit the environment around us. From potential floating landscapes, through connected spherical sculptures that reflect, literally and metaphorically, the world around us, the artist draws inspiration from Alexander Calder, and other figures of Modernism and avant-garde architecture. Following the gallery's presentation at ADAA The Art Show, as well as solo presentations at MAAT, Lisbon and Fosun Foundation, Shanghai, this exhibition will open on the eve of a major solo exhibition at the Palais de Tokyo, Paris. Recent solo projects in the United States have included Baltimore Museum of Art (2017-18), SFMOMA (2016-17), and The Metropolitan Museum of Art, New York (2012).  

Tomás Saraceno Tanya Bonakdar Gallery is pleased to present its sixth solo exhibition with Tomás Saraceno. The Berlin-based Argentine artist will present a comprehensive and expansive body of new sculptural and installation works. Saraceno’s works continue to propose new, sustainable ideas for how we inhabit the environment around us. From potential floating landscapes, through connected spherical sculptures that reflect, literally and metaphorically, the world around us, the artist draws inspiration from Alexander Calder, and other figures of Modernism and avant-garde architecture. Following the gallery's presentation at ADAA The Art Show, as well as solo presentations at MAAT, Lisbon and Fosun Foundation, Shanghai, this exhibition will open on the eve of a major solo exhibition at the Palais de Tokyo, Paris. Recent solo projects in the United States have included Baltimore Museum of Art (2017-18), SFMOMA (2016-17), and The Metropolitan Museum of Art, New York (2012).  
Julia Phillips
Julia Phillips
New York - 22-25 Jackson Avenue
until 03-09-2018

Julia Phillips – Failure Detection MoMA PS1 will present the first solo museum exhibition of New York-based artist Julia Phillips (German and American, b. 1985), featuring six newly commissioned major works alongside existing sculptures. Primarily working with ceramics, New York-based Phillips creates objects and scenes that are intimately connected to the body. Her sculptures often propose various support structures for the human form, while emphasizing its absence. Impressions of the body are visible through casts of limbs, orifices, handprints, and other corporeal traces. Though evocative of physical functions, these works also produce social and psychological resonances. For Phillips, the body is materially, linguistically, and metaphorically entangled in politics, as suggested by terms such as “manipulator,” “protector,” and “extruder” that appear in the titles of her works. Directives for specific actions of constraining, armoring, or penetrating the body, they hint at how formal arrangements double as relations of power. Julia Phillips lives and works in New York City. She has been included in group exhibitions at The Studio Museum in Harlem, New York; The Kitchen, New York; and Kunsthaus, Hamburg. Phillips is currently featured in the New Museum’s 2018 Triennial, Songs for Sabotage.  

Julia Phillips – Failure Detection MoMA PS1 will present the first solo museum exhibition of New York-based artist Julia Phillips (German and American, b. 1985), featuring six newly commissioned major works alongside existing sculptures. Primarily working with ceramics, New York-based Phillips creates objects and scenes that are intimately connected to the body. Her sculptures often propose various support structures for the human form, while emphasizing its absence. Impressions of the body are visible through casts of limbs, orifices, handprints, and other corporeal traces. Though evocative of physical functions, these works also produce social and psychological resonances. For Phillips, the body is materially, linguistically, and metaphorically entangled in politics, as suggested by terms such as “manipulator,” “protector,” and “extruder” that appear in the titles of her works. Directives for specific actions of constraining, armoring, or penetrating the body, they hint at how formal arrangements double as relations of power. Julia Phillips lives and works in New York City. She has been included in group exhibitions at The Studio Museum in Harlem, New York; The Kitchen, New York; and Kunsthaus, Hamburg. Phillips is currently featured in the New Museum’s 2018 Triennial, Songs for Sabotage.  
Liz Deschenes
Liz Deschenes
New York - 36 Orchard Street
until 17-06-2018

Liz Deschenes – Rates (Frames per Second) Miguel Abreu Gallery is pleased to announce the opening of Rates (Frames per Second), Liz Deschenes’s fourth solo exhibition at the gallery. The exhibition will take place at both gallery locations. With this new body of work, Deschenes furthers her inquiry into the history of image production techniques and the conditions of viewing developed in previous series, such as Zoetropes and Stereographs. Here, she takes as reference experimentations of 19th-century scientist and chronophotographer, Étienne-Jules Marey. The works shown at 88 Eldridge Street take Marey’s protocinematic inventions as point of departure. In 1889, he developed a machine that recorded movement using photography, thus providing a technological basis for commercial motion pictures. Producing photographs on a strip of sensitized film moving at a rate of 60 frames per second, Marey’s camera created the illusion of movement. It is important for Deschenes, however, that Marey wasn’t interested in reproducing reality or creating illusions, which defined the industry of spectacle. His objective was that of recording spatial and temporal dimensions of movement in order to analyze it in real time. Confronted with four equally wide, monumental multi-part works that span the length of entire gallery walls, the viewer is here immediately engaged in a rhythmic progression through space, as he or she passes by a succession of thin strips of silver-toned photograms positioned at a constant interval from one another. The phenomenological experience produced by this rigorous sequencing of space is akin to a physical impression of time passing, of the body’s movement being captured in formation. The variously reflective texture of the photosensitive paper on display, coupled as the show unfolds with the widening individual panels comprising the works, affords a subtle sensation of gradual embodiment. Further, the cinematic apparatus of the running film strip representing reality, which Deschenes allegorically alludes to, is reversed to reveal through the photographic objects’ mirroring material a fuzzy image of the passerby in staccato motion, while the photograms themselves, if you will, remain installed and fixed in place. The slightly concave photograms shown at 36 Orchard Street refer to Marey’s diagrams, which record human steps with the use of photosensitive paper. The horizontal, rectangular shape of the panels in this series corresponds to chronographic representations of the duration that a person’s foot stays on the ground while walking at various speeds.

Liz Deschenes – Rates (Frames per Second) Miguel Abreu Gallery is pleased to announce the opening of Rates (Frames per Second), Liz Deschenes’s fourth solo exhibition at the gallery. The exhibition will take place at both gallery locations. With this new body of work, Deschenes furthers her inquiry into the history of image production techniques and the conditions of viewing developed in previous series, such as Zoetropes and Stereographs. Here, she takes as reference experimentations of 19th-century scientist and chronophotographer, Étienne-Jules Marey. The works shown at 88 Eldridge Street take Marey’s protocinematic inventions as point of departure. In 1889, he developed a machine that recorded movement using photography, thus providing a technological basis for commercial motion pictures. Producing photographs on a strip of sensitized film moving at a rate of 60 frames per second, Marey’s camera created the illusion of movement. It is important for Deschenes, however, that Marey wasn’t interested in reproducing reality or creating illusions, which defined the industry of spectacle. His objective was that of recording spatial and temporal dimensions of movement in order to analyze it in real time. Confronted with four equally wide, monumental multi-part works that span the length of entire gallery walls, the viewer is here immediately engaged in a rhythmic progression through space, as he or she passes by a succession of thin strips of silver-toned photograms positioned at a constant interval from one another. The phenomenological experience produced by this rigorous sequencing of space is akin to a physical impression of time passing, of the body’s movement being captured in formation. The variously reflective texture of the photosensitive paper on display, coupled as the show unfolds with the widening individual panels comprising the works, affords a subtle sensation of gradual embodiment. Further, the cinematic apparatus of the running film strip representing reality, which Deschenes allegorically alludes to, is reversed to reveal through the photographic objects’ mirroring material a fuzzy image of the passerby in staccato motion, while the photograms themselves, if you will, remain installed and fixed in place. The slightly concave photograms shown at 36 Orchard Street refer to Marey’s diagrams, which record human steps with the use of photosensitive paper. The horizontal, rectangular shape of the panels in this series corresponds to chronographic representations of the duration that a person’s foot stays on the ground while walking at various speeds.
Cécile B. Evans
Cécile B. Evans
Vienna - Museumsplatz 1
until 01-07-2018

Cécile B. Evans — AMOS' WORLD: Episode One In her work, Cécile B. Evans examines the significance and role of emotion in contemporary societies as well as the increasing influence of new technologies on our feelings and actions. For her forthcoming show at mumok, Evans creates an architectural video installation. AMOS’ WORLD is conceived as a television show set in a socially progressive housing estate. The show, divided into episodes, follows an architect called Amos–a cross between Saint-Exupe?ry’s Little Prince and a brutalistic architect–and the inhabitants of the housing estate. Viewers are first introduced to Amos and some of the tenants, each individual interwoven into the larger infrastructure of Amos’ building. His comfortable perch takes a turn when his perfect individual-communal fantasy for the Capitalist age begins to crumble as the tenants fail to conform to the behaviours he had envisaged. Fissures in this carefully constructed network reveal a breakdown of person-to-person and person-to-infrastructure power dynamics. Seemingly free from the pressures of an outside environment but with a visibly constricted view – how has the networked age impacted the irreconcilable gap between individual rights and the controlling nature of the systems that create them? Cécile B. Evans (*1983) is an American-Belgian artist living and working in London. Recent selected solo exhibitions include Galerie Emanuel Layr, Vienna (AT), Tate Liverpool (UK), Kunsthalle Aarhus (DK), M Museum Leuven (BE), and the De Hallen Haarlem (NL). Her work will be included amongst others in the 7th International Moscow Biennale (RU), the 4th Ural Industrial Biennal (RU), Galerie Kamel Mennour (FR), and the Louisiana Museum of Modern Art, Copenhagen (DK). It was included among others in the 9th Berlin Biennale (DE), the 20th Sydney Biennale (AUS), Fundacio? Joan Miro?, Barcelona (ES), and the Musée d'Art Moderne de la Ville de Paris (FR). Public collections include The Museum of Modern Art, New York (US), The Rubell Family Collection, Miami (US), the Whitney Museum of American Art (US), the De Haallen (NL), the Castello di Rivoli, Turin (IT), the Louisiana Museum of Modern Art, Copenhagen (DK) and the FRAC Auvergne (FR). Curated by Marianne Dobner  

Cécile B. Evans — AMOS' WORLD: Episode One In her work, Cécile B. Evans examines the significance and role of emotion in contemporary societies as well as the increasing influence of new technologies on our feelings and actions. For her forthcoming show at mumok, Evans creates an architectural video installation. AMOS’ WORLD is conceived as a television show set in a socially progressive housing estate. The show, divided into episodes, follows an architect called Amos–a cross between Saint-Exupe?ry’s Little Prince and a brutalistic architect–and the inhabitants of the housing estate. Viewers are first introduced to Amos and some of the tenants, each individual interwoven into the larger infrastructure of Amos’ building. His comfortable perch takes a turn when his perfect individual-communal fantasy for the Capitalist age begins to crumble as the tenants fail to conform to the behaviours he had envisaged. Fissures in this carefully constructed network reveal a breakdown of person-to-person and person-to-infrastructure power dynamics. Seemingly free from the pressures of an outside environment but with a visibly constricted view – how has the networked age impacted the irreconcilable gap between individual rights and the controlling nature of the systems that create them? Cécile B. Evans (*1983) is an American-Belgian artist living and working in London. Recent selected solo exhibitions include Galerie Emanuel Layr, Vienna (AT), Tate Liverpool (UK), Kunsthalle Aarhus (DK), M Museum Leuven (BE), and the De Hallen Haarlem (NL). Her work will be included amongst others in the 7th International Moscow Biennale (RU), the 4th Ural Industrial Biennal (RU), Galerie Kamel Mennour (FR), and the Louisiana Museum of Modern Art, Copenhagen (DK). It was included among others in the 9th Berlin Biennale (DE), the 20th Sydney Biennale (AUS), Fundacio? Joan Miro?, Barcelona (ES), and the Musée d'Art Moderne de la Ville de Paris (FR). Public collections include The Museum of Modern Art, New York (US), The Rubell Family Collection, Miami (US), the Whitney Museum of American Art (US), the De Haallen (NL), the Castello di Rivoli, Turin (IT), the Louisiana Museum of Modern Art, Copenhagen (DK) and the FRAC Auvergne (FR). Curated by Marianne Dobner  
Heimo Zobernig
Heimo Zobernig
Vienna - Eschenbachgasse 9
until 30-05-2018

Heimo Zobernig As previously shown in the exhibition "The Unknown Masterpiece," Heimo Zobernig structures the pictorial space of his work in layers of grid-like constructions. In light of this, one can recognize that as he sequentially develops his oeuvre across exhibition series Zobernig continues to produce new, surprising work ensembles while always remaining true to his fundamental principles. With the picture plane now structured by the word "tHIS," like a trellis on which the composition finds its support, one could simply count the new work among his text paintings. Yet an early Zobernig looks different from a later one, in which, over the course of time, the increasingly complex relationship between text and image has condensed to the point of their becoming indistinguishable. For Zobernig seems to put everything back on the line in every moment of production. Contrary to an intellectual reading, according to which art requires a prior intention – with the result that one is led to expect a meaning and message from the work – it is clear that for Zobernig every painterly act is constitutive, in the sense of being simultaneously both free and structured. It is structured by the habitus – it is a work by Zobernig, experts will recognize his very particular workmanship. That is the logic of practice, a freedom under structural constraint – under the constraint of habitus, of work already realized – a freedom that would not exist for another in this form. In Zobernig's eye and hands there is a complete set of practical schemata, schemata of perception and action, which lead him to pose practical problems and to find practical solutions to these practical problems, without necessarily taking an approach based on concept. A practical schema produces references that are not citations, which is why one can say of Zobernig that he always does the same thing, and at the same time always does extremely different things. He appears to begin a painting the way one begins a book, without knowing what he will tell, only discovering it by and by, one step after the other, starting again from the beginning, making corrections, etc. Modernity brings with it a progression toward abstraction, toward the elimination of the subject, in the interest of accentuating formal qualities. Under these circumstances, the ability to understand the work of art, reduced to its aesthetic dimension, is depleted – quite clearly, however, with the intention of thereby liberating art. The freedom to make unstrained, at times parodic use of outdated representational forms and content, to which Zobernig tends, provokes a little aesthetic shock, yet it is a technical, practical shock. A break with style and subject. His purely technical, pictorial approach, which seeks to avoid any indication of the intimate and subjective, has a moral component. An aesthetic-political view that tolerates no pictorial hierarchy, thus easily allowing the background to come to the fore. Using the "cut and paste" method, it can be inserted into the pictorial space like a backdrop or tapestry. Zobernig uses sketches and adds these to the compositions on the basis of his competence and practical intelligence – they have a structural function. An intelligence of a different order, however, than thinking thought, knowing knowledge, theoretical theory. In the "tHIS" series, Zobernig uses the background like a canonical and classical subject, referencing the painterly coherence of traditional sfumato painting – yet the paint is applied by trowel, not by brush. Throughout the entire picture plane, the radiant, transparent atmosphere of the background merges with the trellis of characters and even seems to assume some of its texture and firmness, while the contours of the lettering become absorbed. A play of light and color. As a modernist, Zobernig's practice is a formal one that serves as its own benchmark, yet is generated in conscious relation to other artists. To exist in an artistic field means to produce in relation to producer peers, for that is the lesson of structuralism: A sound exists only in relation to a range of possible sounds. Pierre Bourdieu* emphasizes the fait social total, by which he means that every social fact, including art, contains the entire system of relations that constitutes the society in question. It is upon this insight that members of the Painting 2.0** generation base their production, by explicitly including in their work the logic of the existence of an artistic field as a social field. – Christian Meyer * Pierre Bourdieu: Manet. Eine symbolische Ordnung (Manet. A Symbolic Revolution), Suhrkamp, 2015, S.168 ff ** Painting 2.0: Malerei im Informationszeitalter (Painting 2.0: Expression in the Information Age), Museum Brandhorst, Mu?nchen / mumok Wien, Prestel, 2016

Heimo Zobernig As previously shown in the exhibition "The Unknown Masterpiece," Heimo Zobernig structures the pictorial space of his work in layers of grid-like constructions. In light of this, one can recognize that as he sequentially develops his oeuvre across exhibition series Zobernig continues to produce new, surprising work ensembles while always remaining true to his fundamental principles. With the picture plane now structured by the word "tHIS," like a trellis on which the composition finds its support, one could simply count the new work among his text paintings. Yet an early Zobernig looks different from a later one, in which, over the course of time, the increasingly complex relationship between text and image has condensed to the point of their becoming indistinguishable. For Zobernig seems to put everything back on the line in every moment of production. Contrary to an intellectual reading, according to which art requires a prior intention – with the result that one is led to expect a meaning and message from the work – it is clear that for Zobernig every painterly act is constitutive, in the sense of being simultaneously both free and structured. It is structured by the habitus – it is a work by Zobernig, experts will recognize his very particular workmanship. That is the logic of practice, a freedom under structural constraint – under the constraint of habitus, of work already realized – a freedom that would not exist for another in this form. In Zobernig's eye and hands there is a complete set of practical schemata, schemata of perception and action, which lead him to pose practical problems and to find practical solutions to these practical problems, without necessarily taking an approach based on concept. A practical schema produces references that are not citations, which is why one can say of Zobernig that he always does the same thing, and at the same time always does extremely different things. He appears to begin a painting the way one begins a book, without knowing what he will tell, only discovering it by and by, one step after the other, starting again from the beginning, making corrections, etc. Modernity brings with it a progression toward abstraction, toward the elimination of the subject, in the interest of accentuating formal qualities. Under these circumstances, the ability to understand the work of art, reduced to its aesthetic dimension, is depleted – quite clearly, however, with the intention of thereby liberating art. The freedom to make unstrained, at times parodic use of outdated representational forms and content, to which Zobernig tends, provokes a little aesthetic shock, yet it is a technical, practical shock. A break with style and subject. His purely technical, pictorial approach, which seeks to avoid any indication of the intimate and subjective, has a moral component. An aesthetic-political view that tolerates no pictorial hierarchy, thus easily allowing the background to come to the fore. Using the "cut and paste" method, it can be inserted into the pictorial space like a backdrop or tapestry. Zobernig uses sketches and adds these to the compositions on the basis of his competence and practical intelligence – they have a structural function. An intelligence of a different order, however, than thinking thought, knowing knowledge, theoretical theory. In the "tHIS" series, Zobernig uses the background like a canonical and classical subject, referencing the painterly coherence of traditional sfumato painting – yet the paint is applied by trowel, not by brush. Throughout the entire picture plane, the radiant, transparent atmosphere of the background merges with the trellis of characters and even seems to assume some of its texture and firmness, while the contours of the lettering become absorbed. A play of light and color. As a modernist, Zobernig's practice is a formal one that serves as its own benchmark, yet is generated in conscious relation to other artists. To exist in an artistic field means to produce in relation to producer peers, for that is the lesson of structuralism: A sound exists only in relation to a range of possible sounds. Pierre Bourdieu* emphasizes the fait social total, by which he means that every social fact, including art, contains the entire system of relations that constitutes the society in question. It is upon this insight that members of the Painting 2.0** generation base their production, by explicitly including in their work the logic of the existence of an artistic field as a social field. – Christian Meyer * Pierre Bourdieu: Manet. Eine symbolische Ordnung (Manet. A Symbolic Revolution), Suhrkamp, 2015, S.168 ff ** Painting 2.0: Malerei im Informationszeitalter (Painting 2.0: Expression in the Information Age), Museum Brandhorst, Mu?nchen / mumok Wien, Prestel, 2016
Oa4s
Oa4s
Vienna - Volkertstraße 17
until 03-06-2018

Oa4s – Friendship With Friendship, Oa4s continues a trajectory of inquiry into the mechanics of collaboration. They consider the form and function of friendship as such: as a symbiotic process and tactic of non-familial alliance. The exhibition centers around a short play starring a two-person camel in a desert oasis. This deploys collage, portraiture and light sculpture to frame friendship’s character as a stage for the artists to practice synchronicity. Friendship in this exhibition serves as a method and figure to challenge taught categories of thought and experience of bounded individualism. The camel slowly moves through the space, drinking water, dancing, falling asleep and dreaming to a soundtrack channeled through the audience’s phones via a live video stream to form a collective soundscape. The abstract video’s color palette playing on the individual phones is made of found footage and ranges from sunrise to darkness. In this multimedia opera, the single entity attempts to maintain itself by synchronizing two bodies and minds, which corresponds to the collaborative’s ongoing methodology. The artists borrow from strategies of improvisation theater which include making requests but not demands and underlie not only the performance but all works of the installation. The backdrop to this scene is a collage of colorful transparents, images and objects that imbue the space with ephemeral reflections. And, like the video, move from daylight to black night. Mounted to a top corner, an epoxy coated corner of a box, or an abstracted stand in for a wasp nest, houses a laser pointer to be refracted and smeared onto the wall through a glass bell across the room on the floor. The nest is the result of imagining a bunch of wasps getting hold of a laser pointer out of a community intent. The laser presents a metaphor for the dialogic nature and continuous, even contagious, unfolding and becoming that characterize friendship and collaboration, and reveals the exploding complexity compressed within a seemingly simple cause-and-effect. A sequence of black and white portraits capture the varying poses of a duo of steel fabricators, Eligio and Charly, who helped on the production for Oa4s’ previous exhibition in Mexico City. These images honor and reveal the ongoing nature of collaborative and dialogic work, existing throughout time, and its value productions that are invisible to the bare eye.   Oa4s (On all fours) is composed of Temra Pavlovi? and Michael Ray-Von, and has been active since 2013. They are based in Amsterdam and Mexico City. Recent solo-exhibitions include “Special Features”, Lodos, Mexico City, (2014), “Laugh now, laugh later”, Lock-up International, Los Angeles, “True butterfly”, Chin’s Push, Los Angeles, “The Fencer And The Beekeeper...”, 1847, Oslo, “Temra and David in 4 parts”, Sorbus gallery, Helsinki (all 2016) and “Spirit Butterfly X” at Lodos, Mexico City (2018).

Oa4s – Friendship With Friendship, Oa4s continues a trajectory of inquiry into the mechanics of collaboration. They consider the form and function of friendship as such: as a symbiotic process and tactic of non-familial alliance. The exhibition centers around a short play starring a two-person camel in a desert oasis. This deploys collage, portraiture and light sculpture to frame friendship’s character as a stage for the artists to practice synchronicity. Friendship in this exhibition serves as a method and figure to challenge taught categories of thought and experience of bounded individualism. The camel slowly moves through the space, drinking water, dancing, falling asleep and dreaming to a soundtrack channeled through the audience’s phones via a live video stream to form a collective soundscape. The abstract video’s color palette playing on the individual phones is made of found footage and ranges from sunrise to darkness. In this multimedia opera, the single entity attempts to maintain itself by synchronizing two bodies and minds, which corresponds to the collaborative’s ongoing methodology. The artists borrow from strategies of improvisation theater which include making requests but not demands and underlie not only the performance but all works of the installation. The backdrop to this scene is a collage of colorful transparents, images and objects that imbue the space with ephemeral reflections. And, like the video, move from daylight to black night. Mounted to a top corner, an epoxy coated corner of a box, or an abstracted stand in for a wasp nest, houses a laser pointer to be refracted and smeared onto the wall through a glass bell across the room on the floor. The nest is the result of imagining a bunch of wasps getting hold of a laser pointer out of a community intent. The laser presents a metaphor for the dialogic nature and continuous, even contagious, unfolding and becoming that characterize friendship and collaboration, and reveals the exploding complexity compressed within a seemingly simple cause-and-effect. A sequence of black and white portraits capture the varying poses of a duo of steel fabricators, Eligio and Charly, who helped on the production for Oa4s’ previous exhibition in Mexico City. These images honor and reveal the ongoing nature of collaborative and dialogic work, existing throughout time, and its value productions that are invisible to the bare eye.   Oa4s (On all fours) is composed of Temra Pavlovi? and Michael Ray-Von, and has been active since 2013. They are based in Amsterdam and Mexico City. Recent solo-exhibitions include “Special Features”, Lodos, Mexico City, (2014), “Laugh now, laugh later”, Lock-up International, Los Angeles, “True butterfly”, Chin’s Push, Los Angeles, “The Fencer And The Beekeeper...”, 1847, Oslo, “Temra and David in 4 parts”, Sorbus gallery, Helsinki (all 2016) and “Spirit Butterfly X” at Lodos, Mexico City (2018).
Rachel Whiteread
Rachel Whiteread
Vienna - Arsenalstrasse 1
until 29-07-2018

Rachel Whiteread For over three decades, Rachel Whiteread has materialized the intangible. Her sculptures make voids visible and awaken memories of that which has been irretrievably lost. For the first time in Austria, the Belvedere 21 shows a cross-section of the renowned British artist's work. Rachel Whiteread is one of the leading international artists of her generation. Born 1963 in London, she was the first woman to win the prestigious Turner Prize in 1993 and went on to represent the UK at the 1997 Venice Biennale. In Vienna, she is principally known for her Holocaust memorial at the Judenplatz. With this monument, the British artist left a lasting mark on the city and transformed the discourse surrounding remembrance. For her casts of empty spaces that range in scale from the monumental to the intimate Whiteread uses industrial materials such as plaster, concrete, resin, rubber, metal, and paper. Despite their minimalist language and severity, her sculptures have a poetic quality and evoke personal and universal human experiences and memories. For the first time in Austria, Belvedere 21 shows a cross-section of Rachel Whiteread's entire oeuvre. The range of sculptures on view covers casts of entire rooms and architectural features such as floors, doors, and windows as well as negative casts of domestic objects such as tables, boxes, and water bottles. Also on view are milestones from Whiteread's career, such as Closet and Mantle (both from 1988) as well as Untitled (Twenty-Five Spaces) from 1995. A special emphasis of the exhibition is focused on her memorial for the Austrian Jewish victims of the Holocaust, first unveiled in 2000 at the Judenplatz in Vienna.  

Rachel Whiteread For over three decades, Rachel Whiteread has materialized the intangible. Her sculptures make voids visible and awaken memories of that which has been irretrievably lost. For the first time in Austria, the Belvedere 21 shows a cross-section of the renowned British artist's work. Rachel Whiteread is one of the leading international artists of her generation. Born 1963 in London, she was the first woman to win the prestigious Turner Prize in 1993 and went on to represent the UK at the 1997 Venice Biennale. In Vienna, she is principally known for her Holocaust memorial at the Judenplatz. With this monument, the British artist left a lasting mark on the city and transformed the discourse surrounding remembrance. For her casts of empty spaces that range in scale from the monumental to the intimate Whiteread uses industrial materials such as plaster, concrete, resin, rubber, metal, and paper. Despite their minimalist language and severity, her sculptures have a poetic quality and evoke personal and universal human experiences and memories. For the first time in Austria, Belvedere 21 shows a cross-section of Rachel Whiteread's entire oeuvre. The range of sculptures on view covers casts of entire rooms and architectural features such as floors, doors, and windows as well as negative casts of domestic objects such as tables, boxes, and water bottles. Also on view are milestones from Whiteread's career, such as Closet and Mantle (both from 1988) as well as Untitled (Twenty-Five Spaces) from 1995. A special emphasis of the exhibition is focused on her memorial for the Austrian Jewish victims of the Holocaust, first unveiled in 2000 at the Judenplatz in Vienna.  
Bouchra Khalili
Bouchra Khalili
Vienna - Friedrichstraße 12
until 17-06-2018

Bouchra Khalili In videos, photographs, and silkscreen prints she often assembles in complex installations that effectively form visual essays, the Moroccan-French artist Bouchra Khalili weaves a kind of “alternative history.” Challenging our collective historiography, she outlines a history of the individual as narrated by its protagonists, who are members of social minorities. With these stories, which are told from generally neglected perspectives and challenge hegemonic narratives, Khalili prompts a discussion of the articulations between colonial, postcolonial history, and the current debates on global migrations. Her works, which scrutinize and seek to highlight strategies of resistance, community, and solidarity against the backdrop of a political philosophy, grow out of a keen interest in language, oral traditions, and subjective self-empowerment as well as explorations of geographical locations where these themes currently have considerable real-world effects or were of prominent significance in the past still resonating in the present-time. The artist, who is on this year’s shortlists for two internationally renowned awards—the Hugo Boss Prize and the Artes Mundi Award—has devised a lucid and formally precise visual idiom in videos and photographs that break new ethical as well as aesthetic ground at the forefront of contemporary documentary practice. Bouchra Khalili’s first solo exhibition in Austria will showcase her video trilogy The Speeches Series (2012–13) and the mixed media installation Foreign Office (2015) as well as The Tempest Society (2017), a video premiered at documenta 14. The history of international solidarity forms the narrative theme running through the exhibition, with a particular emphasis on anti-colonialism and international revolutionary liberation movements that sought to strengthen socially marginalized groups and bring about their emancipation.

Bouchra Khalili In videos, photographs, and silkscreen prints she often assembles in complex installations that effectively form visual essays, the Moroccan-French artist Bouchra Khalili weaves a kind of “alternative history.” Challenging our collective historiography, she outlines a history of the individual as narrated by its protagonists, who are members of social minorities. With these stories, which are told from generally neglected perspectives and challenge hegemonic narratives, Khalili prompts a discussion of the articulations between colonial, postcolonial history, and the current debates on global migrations. Her works, which scrutinize and seek to highlight strategies of resistance, community, and solidarity against the backdrop of a political philosophy, grow out of a keen interest in language, oral traditions, and subjective self-empowerment as well as explorations of geographical locations where these themes currently have considerable real-world effects or were of prominent significance in the past still resonating in the present-time. The artist, who is on this year’s shortlists for two internationally renowned awards—the Hugo Boss Prize and the Artes Mundi Award—has devised a lucid and formally precise visual idiom in videos and photographs that break new ethical as well as aesthetic ground at the forefront of contemporary documentary practice. Bouchra Khalili’s first solo exhibition in Austria will showcase her video trilogy The Speeches Series (2012–13) and the mixed media installation Foreign Office (2015) as well as The Tempest Society (2017), a video premiered at documenta 14. The history of international solidarity forms the narrative theme running through the exhibition, with a particular emphasis on anti-colonialism and international revolutionary liberation movements that sought to strengthen socially marginalized groups and bring about their emancipation.
Manfred Pernice
Manfred Pernice
Zürich - Rämistrasse 37
until 02-06-2018

Manfred Pernice – Lando (I – VIII, 2018) Mai 36 Galerie is delighted to present the fourth solo exhibition by German artist Manfred Pernice. Manfred Pernice works with a variety of materials, including wood and chipboard, metal, con- crete/plaster and clay (ceramic), combined with various elements and objects, to create works, ensembles and installations. The resulting three-dimensional pieces oscillate between sculptural collage, sculpture, model and installation. The exhibition Lando (I – VIII, 2018) at Mai 36 Galerie presents new works by the artist, staged as a group and reflecting aspects reminiscent of a furniture store in liquidation (second choice/second hand). The basic elements (cylinders) take the form of plinths and bases, as well as vessels and minimalist sculptures. These “remnants” and “job lots” are complemented by sculptural elements that address, in both form and presentation, an expanded (or already disintegrating) concept of sculpture. This sense of dissolution harbors the hope of a new beginning and focused concentration. For while their simplicity of form makes them appear at first glance to be functional objects, these elements are also redolent of architectural or spatial fragments, calling into question the function and concept of the space and, with that, the perception and reception of art itself. Although each individual work is in itself autonomous, the abstract objects nevertheless interact with one another as well as with the visitors walking among the diffuse boundaries of the exhibition space and the created space. The exhibition allows viewers to immerse themselves in the world of the artist and, in doing so, to discover their own realms of thought that are opened up to them by their reception of the works. The latently menacing, harmless, anodyne, complex or even violent “outside world” thus seems to be completely blanked out, and yet at the same time to be present within the exhibition in a surprisingly non-committal way. Manfred Pernice (born 1963 in Hildesheim, Germany) lives and works in Berlin. He studied graphic art and painting at the Hochschule fu?r Bildende Ku?nste in Brunswick, as well as sculpture at the Hochschule der Ku?nste in Berlin. Since 2012, he has been teaching sculpture at the Universita?t der Ku?nste in Berlin. Pernice’s works were last shown in the exhibition “2-B Dosenwelt” at Kunstmuseum St. Gallen and are represented in many important collections, including the Pinakothek der Moderne, Munich and the Solomon R. Guggenheim Museum, New York.  

Manfred Pernice – Lando (I – VIII, 2018) Mai 36 Galerie is delighted to present the fourth solo exhibition by German artist Manfred Pernice. Manfred Pernice works with a variety of materials, including wood and chipboard, metal, con- crete/plaster and clay (ceramic), combined with various elements and objects, to create works, ensembles and installations. The resulting three-dimensional pieces oscillate between sculptural collage, sculpture, model and installation. The exhibition Lando (I – VIII, 2018) at Mai 36 Galerie presents new works by the artist, staged as a group and reflecting aspects reminiscent of a furniture store in liquidation (second choice/second hand). The basic elements (cylinders) take the form of plinths and bases, as well as vessels and minimalist sculptures. These “remnants” and “job lots” are complemented by sculptural elements that address, in both form and presentation, an expanded (or already disintegrating) concept of sculpture. This sense of dissolution harbors the hope of a new beginning and focused concentration. For while their simplicity of form makes them appear at first glance to be functional objects, these elements are also redolent of architectural or spatial fragments, calling into question the function and concept of the space and, with that, the perception and reception of art itself. Although each individual work is in itself autonomous, the abstract objects nevertheless interact with one another as well as with the visitors walking among the diffuse boundaries of the exhibition space and the created space. The exhibition allows viewers to immerse themselves in the world of the artist and, in doing so, to discover their own realms of thought that are opened up to them by their reception of the works. The latently menacing, harmless, anodyne, complex or even violent “outside world” thus seems to be completely blanked out, and yet at the same time to be present within the exhibition in a surprisingly non-committal way. Manfred Pernice (born 1963 in Hildesheim, Germany) lives and works in Berlin. He studied graphic art and painting at the Hochschule fu?r Bildende Ku?nste in Brunswick, as well as sculpture at the Hochschule der Ku?nste in Berlin. Since 2012, he has been teaching sculpture at the Universita?t der Ku?nste in Berlin. Pernice’s works were last shown in the exhibition “2-B Dosenwelt” at Kunstmuseum St. Gallen and are represented in many important collections, including the Pinakothek der Moderne, Munich and the Solomon R. Guggenheim Museum, New York.  
Fashion Drive
Fashion Drive
Zürich - Heimplatz 1
until 15-07-2018

Fashion Drive. Extreme Clothing in the Visual Arts Joseph Beuys, Giovanni Boldini, Leigh Bowery, Daniele Buetti, Salvador Dalí, Honoré Daumier, Albrecht Dürer, Esther Eppstein, Sylvie Fleury, Emilie Flöge & Gustav Klimt, Natalia Goncharova, K8 Hardy, Herlinde Koelbl, Peter Lindbergh, Manon, Malcolm McLaren & Vivienne Westwood, Mai-Thu Perret, Tula Roy and Christoph Wirsing, Wolfgang Tillmans, Félix Vallotton, Andy Warhol a.o. Why ‘fashion drive’? Fashion is both drive and dilemma; but first and foremost it is a barometer of changing times. This exhibition looks at 500 years of vestimentary expression through the prism of art, and asks: how did artists react to extreme phenomena such as slashed clothing, codpieces, crinolines and the dinner jacket? Georg Simmel, in his ‘Philosophy of Fashion’, describes it as follows: ‘Considered objectively, living in accordance with fashion is a mixture of destruction and creation.’ Fashion is both an economic factor and a seismograph of social sensitivities, the expression of longing and an instrument for mechanisms of inclusion and exclusion. The exhibition, which focuses on the period from the end of the 18th century to the start of the 20th with digressions into the Renaissance and the present day, considers the manifestations of fashion at the tipping points where it is extreme, vibrating, loud, disguised or prohibited. In a modern age of globalization and homogenization through ‘fast fashion’, this show attempts an overview of the critical and sensory observation of clothing in art, the problematic and subversive turns in fashion history, through the techniques of painting, drawing, sculpture, installation, photography and video art.   

Fashion Drive. Extreme Clothing in the Visual Arts Joseph Beuys, Giovanni Boldini, Leigh Bowery, Daniele Buetti, Salvador Dalí, Honoré Daumier, Albrecht Dürer, Esther Eppstein, Sylvie Fleury, Emilie Flöge & Gustav Klimt, Natalia Goncharova, K8 Hardy, Herlinde Koelbl, Peter Lindbergh, Manon, Malcolm McLaren & Vivienne Westwood, Mai-Thu Perret, Tula Roy and Christoph Wirsing, Wolfgang Tillmans, Félix Vallotton, Andy Warhol a.o. Why ‘fashion drive’? Fashion is both drive and dilemma; but first and foremost it is a barometer of changing times. This exhibition looks at 500 years of vestimentary expression through the prism of art, and asks: how did artists react to extreme phenomena such as slashed clothing, codpieces, crinolines and the dinner jacket? Georg Simmel, in his ‘Philosophy of Fashion’, describes it as follows: ‘Considered objectively, living in accordance with fashion is a mixture of destruction and creation.’ Fashion is both an economic factor and a seismograph of social sensitivities, the expression of longing and an instrument for mechanisms of inclusion and exclusion. The exhibition, which focuses on the period from the end of the 18th century to the start of the 20th with digressions into the Renaissance and the present day, considers the manifestations of fashion at the tipping points where it is extreme, vibrating, loud, disguised or prohibited. In a modern age of globalization and homogenization through ‘fast fashion’, this show attempts an overview of the critical and sensory observation of clothing in art, the problematic and subversive turns in fashion history, through the techniques of painting, drawing, sculpture, installation, photography and video art.