AtsalaTsala

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Patricia Low Contemporary – Gstaad.
ATSALA TSALA
A selection of Contemporary African Art
Exhibition: 21. JUL – 10. OCT 2017
Serge Attukwei Clottey – Marion Boehm
Marcia Kure – Omar Victor Diop -Cameron Platter
Lauenenstrasse 28, 3780 Gstaad
https://www.patricialow.com

Atsala Tsala is an exhibition featuring five artists who use mixed media to explore identity, history and the recycling of everyday life into art. Suggested by Marcia Kure and Serge Attukwei Clottey “Atsala Tsala” means patching, stitching and even collage in the Ga dialect (Greater Accra region). It is a technique that each artist in this show has, in some way, applied to their work. It also reflects the grouping of these five artists who come from different parts of Africa.

 

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Wall based work from Serge Attukwei Clottey from Ghana, will be exhibited alongside photography by Omar Victor Diop from Senegal, Marion Boehm, a German artist who works in South Africa, Marcia Kure from Nigeria and Cameron Platter from South Africa. Individually, each of these artists presents a unique personal vision while together, they offer an exciting overview of contemporary African art.

The Ghanaian artist Serge Attukwei Clottey made a vivid impression last year in his work, My Mother’s Wardrobe, when he walked through Accra wearing the clothes of his recently deceased mother. His witty yet profound performance made a bold comment on the inequality of African funeral customs whereby a mother’s belongings are traditionally only passed on to their daughters. Clottey is also known for his sculpture and installations made from the ubiquitous yellow plastic jerry cans used to collect and carry water.

These recurring cans represent the ecological and economic hardships facing Ghanaian working people but also the strong role that women play in ensuring their families have clean water at a time of poor resources and high levels of pollution. The works absorb a political narrative as much as they do Clottey’s personal history and formal approach to assemblage.

 

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Whereas Clottey has spent his life in Africa, Marion Boehm was born in Duisburg-Rheinhausen, Germany and moved to South Africa in 2010. Like Clottey her work often pays particular attention to the role of women in African society. Her exquisite collaged portraits merge recycled antique fabrics, shweshwe cloth, newspaper, pastel and graphite, elevating otherwise ordinary women into dignified figures of great beauty and individuality with an aim to redress their exclusion from art history. She includes pictorial elements from stories told to her by people she has met while she has been in Kliptown reflecting their histories alongside her own experience of living within their communities.

 

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Marcia Kure, originally from Nigeria is now based in the US. The notion of moving away from Africa, and her home, has allowed her a critical distance to view her ethnicity and history from an outsider’s perspective. In her paintings and drawings Kure utilises a distinct linear style that echoes Nigerian Uli art and uses traditional pigments such as kolanut and coffee affording her semi-figurative images with rich sinuous layers of earth tones. The sense of postcolonial, fragmented identity is palpable in Kure’s mixed media collages that effortlessly combine elements as diverse as female identity, historical costume alongside contemporary clothing and hip hop culture.

 

 

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Omar Victor Diop’s Project Diaspora, is a series of elaborately staged self portraits replicated from original 15-19th century drawings and paintings of notable African emigres. These works have the richness and complexity of Cindy Sherman’s photographs that retell the story of their subjects for a contemporary audience. By adding in professional football ephemera he adds an almost cartoon like element to their aesthetic, reminding the viewer that although talent and fame can elevate social status for African people, racial hierarchies and stereotypes still remain present.

 

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South African artist Cameron Platter makes expansive, seemingly upbeat, drawings and paintings yet there is a sense of discord that belies their bold playful colours and pop graphic. Platter tells stories through words and images that pick and mix references from South African popular culture infusing everyday observations with a new often dark relevance. He combines traditional lino cuts, text art with a retro poster aesthetic and the kind of imagery more commonly found in graphic novels and disposable marketing leaflets. KFC logos alongside strip club signage and escort classifieds from a Durban newspaper speak of a darker underbelly in South African life.

 

 

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About the artists

Serge Attukwei Clottey (b. 1985) lives and works in Accra. Recent exhibitions include Kampnagel, Hamburg (2015); Intelligentsia Gallery, Beijing (2015); The Mistake Room, Los Angeles (2015); 27th Festival Les Instants Vidéo, Marseille (2014); WUK, Wien (2014); Mohr-Villa, Munich (2014); Ozwald Boateng, London (2014); 11th Dak’art, Dakar (2014); Nubuke Foundation, Accra (2014); Stedelijk Museum, Amsterdam (2012)

Marion Boehm (b. 1964) in Duisburg-Rheinhausen, Germany, lives and works in South Africa (since 2010). Recent exhibitions include ARTCO Gallery at Cape Town Art Fair, (2017); In Toto Gallery, Johannesburg (2015); Young Blood Gallery, Cape Town (2014)

Marcia Kure (b. 1970), lives and works in Princeton, US. Recent exhibitions include The Heong Gallery, Cambridge (2017); Contemporary Art Centre, Brussels (2015); Galeria Municipal Almeida Garrett, Portugal (2015); Biennale of Dakar, Senegal (2014); Palais de Tokyo, Paris (2012); Purdy Hicks, London and Essie Green Galleries, New York (2011)

Omar Victor Diop (b. 1980), lives and works in Dakar. Recent exhibitions include, Institut du monde arabe, Paris; Louis Vuitton Foundation, Paris; Museum of Art and Design, New York; Mona Bismarck American Center, Paris (all 2017)

Cameron Platter (b.1978) lives and works in KwaZulu-Natal and Cape Town. Recent exhibitions include Depart Foundation, Los Angeles (2016); Iziko South African National Gallery (2015); Museum of Modern Art, New York (2011); Haus Der Kultur, Berlin (2011); La Biennale de Dakar, Senegal (2010); The Centre Georges Pompidou, Paris (2010)

 

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FALL 2017

NewMuseum18.23.21

NEW MUSEUM
FALL 2017
MUSEUM’S 40TH ANNIVERSARY
This Fall, Trap Door: Trans Cultural Production and the Politics of Visibility, the Latest Installment in the Critical Anthologies in Art and Culture Series
OPENING:
27. September 2017– 21. January 2018
curated by Johanna Burton, Keith Haring Director and Curator
of Education and Public Engagement, with Natalie Bell,
Assistant Curator, and Sara O’Keeffe, Assistant Curator.
Second, Third, and Fourth Floors
235 Bowery, New York, NY 10002

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Pauline Boudry/Renate Lorenz, Toxic, 2012 (still, detail). Super 16mm film transferred to HD; 13 min. Courtesy the artists, Ellen de Bruijne Projects, and Galerie Marcelle Alix

To mark the New Museum’s 40th anniversary, the Museum will present several special exhibitions during its fall 2017 season and will inaugurate a new temporary gallery space in the adjacent building to the south. The Museum-wide survey “Trigger: Gender as a Tool and a Weapon” leads the season, with single-artist exhibitions by Kahlil Joseph and Petrit Halilaj also on view. The exhibitions by Joseph and Halilaj will be new site-specific projects filling new temporary galleries that connect the Ground Floor of the Museum with its adjacent building at 231 Bowery.
OPENING FALL 2017

 

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Cover of Trap Door: Trans Cultural Production and the Politics of Visibility, edited by Reina Gossett, Eric A. Stanley, and Johanna Burton

 

New York, NY…This fall, the New Museum will publish Trap Door: Trans Cultural Production and the Politics of Visibility, edited by Reina Gossett, Eric A. Stanley, and Johanna Burton. Trap Door, to be released November 2017, is the third installment in the New Museum’s Critical Anthologies in Art and Culture series, following the publication of Mass Effect: Art and the Internet in the Twenty-First Century (2015), edited by Lauren Cornell and Ed Halter, and Public Servants: Art and the Crisis of the Common Good (2016), edited by Johanna Burton, Shannon Jackson, and Dominic Willsdon.
The increasing representation of trans identity throughout art and popular culture in recent years has been nothing if not paradoxical. Trans visibility is continually touted as a sign of liberalist transformation, but it has coincided precisely with a political moment marked both by heightened violence against trans people (especially trans women of color) and by the suppression of trans rights under civil law. Trap Door: Trans Cultural Production and the Politics of Visibility grapples with these contradictions. It both considers how mainstream representation and co-optation inevitably alter trans identities and confronts the radical incongruity of society’s simultaneous acceptance and forceful rejection of those same identities.
The essays, conversations, and dossiers gathered in Trap Door delve into themes as wide-ranging yet interconnected as beauty, performativity, activism, and police brutality. Collectively, they attest to how trans people are frequently offered “doors”—entrances to visibility and recognition—that are actually “traps,” accommodating trans bodies and communities only insofar as they cooperate with hegemonic norms. In turn, the volume speculates about a third term, perhaps uniquely suited for our time: the trapdoor, that clever contraption that is neither entrance nor exit, but instead a secret passageway leading elsewhere. Building on the legacy of art historical and related dialogues around difference, Trap Door thus ignites a conversation that extends through and beyond trans culture, insisting that while these debates and dialogues are specific, they nevertheless have great relevance for anyone invested in the ethics of visual culture.
“In conjunction with the fall exhibition ‘Trigger: Gender as a Tool and a Weapon,’ Trap Door continues a deep exploration of gender across the New Museum’s fall 2017 programming, with this extraordinary collection of essays and authors probing the topic of trans identity in contemporary culture,” said Lisa Phillips, Toby Devan Lewis Director of the New Museum.

 

 

NEW MUSEUM
TRIGGER: GENDER AS A TOOL AND A WEAPON
27. September 2017– 21. January 2018
Curated by Johanna Burton, Keith Haring Director and Curator
of Education and Public Engagement, with Natalie Bell,
Assistant Curator, and Sara O’Keeffe, Assistant Curator.
Second Floor, Third Floor, and Fourth Floor
http://www.newmuseum.org/exhibitions/view/trigger-gender-as-a-tool-and-as-a-weapon

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Paul Mpagi Sepuya, Darkroom Mirror (0X5A1531), 2017. Archival pigment print, 51 × 34 in (129.5 × 86.4 cm). Courtesy the artist and Yancey Richardson, New York

 

 

The New Museum has been committed to urgent ideas since its inception, devoting many exhibitions and programs over the years to issues of representation with regard to gender and sexuality: “Extended Sensibilities” (1982), “Difference” (1984–85), “Homo Video” (1986–87), and “Bad Girls” (1994) are just four notable examples. Following in this tradition, and in the Museum’s 40th anniversary year, “Trigger” extends the conversation around identity, considering how even a fluid conception of gender is nonetheless marked by ongoing negotiations of power and cannot be understood outside its complex intersections with race, class, sexuality, and disability. The exhibition’s title, “Trigger,” takes into account that word’s range of meanings, variously problematic and potent; the term evokes both traumatic recall and mechanisms that, set into motion, are capable of igniting radical change.

The exhibition will feature more than forty artists working across a variety of mediums and genres, including film, video, performance, painting, sculpture, photography, and craft. Many embrace explicit pleasure and visual lushness as political strategies, and some deliberately reject or complicate overt representation, turning to poetic language, docufiction, and abstraction to affirm ambiguities and reflect shifting physical embodiment. Representing no single point of view, and in some cases presenting productively contradictory positions, “Trigger” will assemble artists for their singular efforts in considering gender’s capacity to represent a more general refusal of stable categorization—a refusal at the heart of today’s most compelling artistic practices.

Artist List
Morgan Bassichis (b. 1983) Sadie Benning (b. 1973)
Nayland Blake (b. 1960) Justin Vivian Bond (b. 1963) Gregg Bordowitz (b. 1964)
Pauline Boudry / Renate Lorenz (working together since 2007)
Nancy Brooks Brody (b. 1962) A.K. Burns (b. 1975) and A.L. Steiner (b. 1967)
Leidy Churchman (b. 1979) Liz Collins (b. 1968) Vaginal Davis (b. 1969)
Harry Dodge (b. 1966) Dyke Division of the Two-Headed Calf (founded in 2008)
Josh Faught (b. 1979) ektor garcia (b. 1985) Mariah Garnett (b. 1980)
Reina Gossett (b. 1983) and Sasha Wortzel (b. 1983) Sharon Hayes (b. 1970)
House of Ladosha (founded in 2007) Stanya Kahn (b. 1968)
Carolyn Lazard (b. 1987) Simone Leigh (b. 1967) Ellen Lesperance (b. 1971)
Candice Lin (b. 1979) Troy Michie (b. 1985) Ulrike Müller (b. 1971)
Willa Nasatir (b. 1990) Sondra Perry (b. 1986) Christina Quarles (b. 1985)
Connie Samaras (b. 1950) Curtis Talwst Santiago (b. 1979)
Tschabalala Self (b. 1990) Paul Mpagi Sepuya (b. 1982)
Tuesday Smillie (b. 1981) Sable Elyse Smith (b. 1986) Patrick Staff (b. 1987)
Diamond Stingily (b. 1990) Mickalene Thomas (b. 1971)
Wu Tsang (b. 1982) Chris E. Vargas (b. 1978) Geo Wyeth (b. 1984)
Anicka Yi (b. 1971)

The artists in “Trigger” share a desire to contest repressive orders and to speculate on new forms and aesthetics—a desire to picture other futures. For many, developing new vocabularies necessarily entails a productive reworking of historical configurations. A number of artists in the exhibition—including Josh Faught, Reina Gossett and Sasha Wortzel, Ellen Lesperance, Mickalene Thomas, and Candice Lin—return to archival materials in order to critique, build upon, and explore longstanding dialogues and debates around intersectionality, alliance, and the project of world-building. Beauty is not supplemental to politics here, but central to the process of positing new worlds and building new social structures. The exhibition brings together a range of practitioners, some with a longstanding commitment to activism—such as Nancy Brooks Brody, an original member of the collective Fierce Pussy, and Vaginal Davis, who has long critiqued systematic oppression tied to gender, race, class, and sexuality—alongside emerging artists such as Sable Elyse Smith, Paul Mpagi Sepuya, and Chris Vargas, whose works variously plumb mechanisms of regulation.

The exhibition will include a number of commissioned works, including a major new braided sculpture by Diamond Stingily that pierces through gallery floors, trailing from the Fourth Floor all the way down to the Museum’s Lobby, and alludes to the racial dimensions of beauty conventions as well as to Medusa, the mythological snake-haired woman whose gaze could turn men into stone. Nayland Blake will produce a life-size suit of his “fursona” named Gnomen, which will be periodically inhabited and activated throughout the course of the exhibition. Tuesday Smillie will continue a recent series of textile works that both refer to significant historical protest signs—such as those constructed by Sylvia Rivera, Marsha P. Johnson, and other members of Street Transvestite Action Revolutionaries—and present new slogans. ektor garcia will present a series of site-specific, readymade sculptures that evoke S&M fetish gear and Mexican housewares while suggesting movement away from definitive gender and sexual roles.

Commissioned performances will feature prominently in the exhibition, with the premiere of a two-part musical by Morgan Bassichis that returns to the influential 1977 publication The Faggots & Their Friends Between Revolutions, live music organized by Simone Leigh and staged inside her installation, and a series of performance-lectures on masculinities by Gregg Bordowitz. The exhibition will also include a special three-episode reunion of Dyke Division’s Room for Cream, the live lesbian soap opera presented at La MaMa theater in New York from 2008 to 2010.

The exhibition is curated by Johanna Burton, Keith Haring Director and Curator of Education and Public Engagement, with Natalie Bell, Assistant Curator, and Sara O’Keeffe, Assistant Curator. It will be accompanied by a fully illustrated catalogue designed by Joseph Logan and published by the New Museum. The catalogue includes essays by Rizvana Bradley and Jeannine Tang, as well as a conversation between Mel Y. Chen and Julia Bryan-Wilson. It also includes genealogies organized by Sara O’Keeffe, an institutional archival portfolio, and transcripts of roundtable conversations between members of the exhibition’s advisory group: Lia Gangitano, Ariel Goldberg, Jack Halberstam, Fred Moten, and Eric A. Stanley.

 

 

NEW MUSEUM
“Kahlil Joseph”
27. September 2017– 7. January 2018
curated by Natalie Bell, Assistant Curator, and Massimiliano Gioni,
Edlis Neeson Artistic Director.
South Galleries, Ground Floor
235 Bowery, New York, NY 10002
http://www.newmuseum.org/exhibitions/upcoming

 

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Kahlil Joseph, m.A.A.d., 2014 (still, detail). 35mm film transferred to two-channel video, sound, color; 15:26 min. Courtesy the artist

 

 

In his captivating short films, Los Angeles–based artist and filmmaker Kahlil Joseph (b. 1981, Seattle) conjures the vibrant and impressionistic quality of dreams through a kaleidoscope of quotidian scenes and intimate moments. In recent years, much of Joseph’s filmmaking has taken shape through collaborations with some of the most respected and forward-thinking hip-hop, jazz, indie, and electronic musicians working today, including Arcade Fire, FKA Twigs, Flying Lotus, Kendrick Lamar, Sampha, and Shabazz Palaces. For this exhibition, his first solo presentation in New York, Joseph will debut a new black-and-white film that draws inspiration from photographer Roy DeCarava (1919–2009), whose images of celebrated jazz musicians and everyday life in Harlem Joseph has long admired. Drawing from DeCarava’s virtuosity with chiaroscuro effects and his commitment to representations that reflect the rhythms of daily life, Joseph’s new film will consider the dimensions of past, present, and future in Harlem and New York City.

For his New Museum exhibition, this new work will be presented in an installation together with m.A.A.d. (2014), a lush two-channel portrait of Compton, CA, that blends home video footage from the early 1990s with Joseph’s own footage, shot two decades later. Seen together, these works will serve as foils to one another, offering a conversation between two contrasting urban settings and the people who call them home. While m.A.A.d. offers a predominantly contemporary image, Joseph’s new work will extend beyond the present day—yet, in the spirit of DeCarava and true to Joseph’s past work, music will figure centrally in both. Surrounding the viewer with large-scale projections and immersive soundscapes, both works will reflect on the ways identity, memory, and spirituality are negotiated and expressed in distinct but equally influential cultural landscapes. The exhibition is curated by Natalie Bell, Assistant Curator, and Massimiliano Gioni, Edlis Neeson Artistic Director.

This exhibition further debuts a new gallery, providing artists a dynamic project space in the Museum to premiere or display new work and new productions.

 

NEW MUSEUM
“Petrit Halilaj”
27. September 2017– 7. January 2018
curated by Helga Christoffersen, Assistant Curator.
South Galleries, Ground Floor
235 Bowery, New York, NY 10002
http://www.newmuseum.org/exhibitions/upcoming

 

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Petrit Halilaj, Si Okarina e Runikut, 2014 (detail). Installation view: “Yes but the sea is attached to the Earth and it never floats around in space. The stars would turn off and what about my planet?,” kamel mennour, Paris. © Petrit Halilaj. Courtesy the artist and kamel mennour, Paris/London. Photo: Fabrice Seixas & archives kamel mennour

 

 

In his work, Petrit Halilaj (b. 1986, Kostërrc, Skenderaj-Kosovo) often departs from his own biography and makes use of exhibition processes to alter the course of private and collective histories. Encompassing sculpture, drawing, text, and video, many of Halilaj’s works incorporate materials from his native Kosovo and manifest as ambitious spatial installations through which the artist translates personal relationships into sculptural forms. His contribution to the 6th Berlin Biennial (2010) featured a life-size supporting structure for his family’s new home; the work comprised both the construction of this home in Pristina and its ghost shell on view in Berlin. In another project from 2013, Halilaj uncovered and recreated the deteriorated collection of the natural history museum in Kosovo, which had been discarded after the end of the Kosovo War in the 1990s.

For his New Museum exhibition, Halilaj will present an ambitious new project that begins in Runik, the city in which he was born and the site of one of the earliest Neolithic settlements in the region, where some of Kosovo’s most significant artifacts have been found—among them a small musical instrument known as the Runik Ocarina. The Ocarina, part of a collection of objects held by the Serbian government since the war, represents a heritage inaccessible to citizens of Kosovo. Through his work, Halilaj will trace residents’ recollections of remaining archaeological objects as personal origin stories and, by recreating their annexed collection, will give shape to a material heritage that currently exists only in their imagination. Halilaj was recently awarded a special mention by the Jury at the 57th Venice Biennale. The exhibition is curated by Helga Christoffersen, Assistant Curator.

This exhibition also debuts a new gallery, providing artists a dynamic project space in the Museum to premiere or display new work and new productions.

 

 

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IdeasCityNY

NewMuseum18.23.21

New Museum NY

idealcit
IdeasCity New York
A Daylong Festival Exploring 100 Actions for the Future City
Saturday, 16. September 2017
Sara D. Roosevelt Park on Chrystie Street
https://www.newmuseum.org

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The New Museum is pleased to announce the fourth edition of IdeasCity New York, taking place Saturday, September 16, 2017, at Sara D. Roosevelt Park on Chrystie Street, one block from the New Museum.

IdeasCity, the New Museum’s civic platform that explores the future of cities with art and culture as a driving force, will culminate a two-year cycle of global residencies in Detroit, Athens, and Arles with its biannual program IdeasCity New York. This free and public event, themed around “100 Actions for the Future City,” will be a daylong investigation of strategies, ideas, and propositions featuring artist talks, initiatives by local organizations, performances, workshops, and a panel of notable mayors from around the country. Featured speakers will include Tania Bruguera, David Byrne, Mel Chin, Maurice Cox, Teddy Cruz, Justin Garrett Moore, Fonna Forman, Kemi Ilesanmi, Ingrid Lafleur, Eric Liu, Mil M2, Rick Lowe, Rosanne Haggerty, dream hampton, Leslie Koch, Trevor Paglen, Superflex, Kasim Reed, Jonathan Rose, Kamau Ware, and Fellows from past IdeasCity residencies, among others.

IdeasCity New York will present programs with its Executive Committee members—Architecture League, Bowery Poetry Club, Cooper Union, the Drawing Center, and Storefront for Art and Architecture—and local community organizations in Lower Manhattan, as well as the New Museum’s Education Department, NEW INC, and Museum affiliate Rhizome.

A notable feature of this year’s IdeasCity is an open arena of modular structures, designed by Thomas Lommée & Christiane Hoegner/OpenStructures, which will serve as the site for a public forum. The staging is made possible by IdeasCity’s design partner A/D/O, a creative space in Greenpoint, Brooklyn, dedicated to expanding the reach of design.

“Art, design, and culture are often perceived as superfluous luxuries that are somehow less essential to civic life. In the last two years, observing the work of artists, architects, activists, and citizens in Athens, Detroit, and Arles, we‘ve learned that there is a more urgent need than ever before to place artistic practice at the center of future thinking about urban life, and that the results can be incredibly inspiring,” said Joseph Grima, Director of IdeasCity.

“Like the New Museum itself, IdeasCity is a global initiative with its roots in the Bowery neighborhood, and we‘re especially pleased that the fourth edition of IdeasCity New York coincides with the fortieth anniversary of the Museum. Over these forty years, our commitment to the city has broadened in scope, and this will be reflected in the diversity of the propositions presented,” said Lisa Phillips, Toby Devan Lewis Director of the New Museum.

As IdeasCity looks forward to its next two-year cycle of global residencies across three cities, the Rockefeller Foundation will provide a new level of support with the establishment of the Rockefeller Foundation Fellows. The Fellows have been a distinguishing feature of IdeasCity, with more than 3,000 candidates having applied for the programs in Detroit, Athens, and Arles. As cultural practitioners, the Fellows partner with local communities and engage in an intense research and development residency. A selection of the Fellows’ work from Detroit, Athens, and Arles will be highlighted at this year’s IdeasCity New York.

Support for IdeasCity New York
Leadership support for IdeasCity New York and the IdeasCity Fellowship program is provided by the Rockefeller Foundation.

Lead support for IdeasCity New York is provided by the Stavros Niarchos Foundation.

Additional support for IdeasCity New York provided by Lambent Foundation.

A/D/O is the design partner for IdeasCity New York.

Support for IdeasCity 2016–17 Program
Founding support for IdeasCity is provided by Goldman Sachs Gives at the recommendation of David B. Heller & Hermine Riegerl Heller.

LUMA Foundation is the presenting partner for IdeasCity Arles.
Additional support for IdeasCity Arles provided by NEON.

NEON Foundation is the presenting partner for IdeasCity Athens.
Stavros Niarchos Foundation is the International partner for IdeasCity Athens.
LUMA Foundation is the Global Social Engagement partner for IdeasCity Athens.

Major support for IdeasCity Detroit provided by the Knight Foundation.
LUMA Foundation is the Global Social Engagement partner for IdeasCity Detroit.
Additional support for IdeasCity Detroit provided by the Kresge Foundation, Ford Foundation, and Lambent Foundation.
Fellowship support for IdeasCity Detroit provided by the US Embassy, Athens.

About IdeasCity
IdeasCity is a collaborative, civic, and creative platform that starts from the premise that art and culture are essential to the future vitality of cities. This international initiative provides a forum for designers, artists, technologists, and policymakers to exchange ideas, identify challenges, propose solutions, and engage the public’s participation. The initiative was cofounded at the New Museum by Lisa Phillips, Toby Devan Lewis Director, and Karen Wong, Deputy Director. Past IdeasCity programs have taken place in New York (2011, 2013, and 2015), Istanbul (2012), São Paulo (2013), Detroit (2016), Athens (2016), and Arles (2017). For more information, visit ideas-city.org.

About New Museum
The New Museum is the only museum in New York City exclusively devoted to contemporary art. Founded in 1977, the New Museum is a center for exhibitions, information, and documentation about living artists from around the world. From its beginnings as a one-room office on Hudson Street to the inauguration of its first freestanding building on the Bowery designed by SANAA in 2007, the New Museum continues to be a place of experimentation and a hub of new art and new ideas.

http://www.ideas-city.org/

 

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Kim Yong-Ik

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Spike Island, Bristol
and the Korean Cultural Centre UK, London
Kim Yong-Ik
Preview: Friday 29 September 2017 | 6–9pm
Spike Island, Bristol: exhibition:
26 September – 4 November 2017.
30 September – 17 December 2017
133 Cumberland Road, Bristol BS1 6UX
http://www.spikeisland.org.uk/events/exhibitions/kim-yong-ik/
http://london.korean-culture.org/en/welcome

 

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Kim Yong-Ik, To Ilmin Museum of Art, 1981, Cloth, paper, photo, wood, rope, Installation, approx. 31 x 41 x 10 cm, Photography by Keith Park,
Courtesy of the Artist and Kukje Gallery

 

 

Spike Island is pleased to present the first exhibition in the UK by South Korean artist Kim Yong-Ik. The exhibition traces the progression of his work from his earliest Dansaekhwa paintings — a form of Korean abstraction — through his rejection of this tradition in the early 1980s, as his awareness of conceptual practice developed and life under Korea’s military dictatorship became increasingly repressive. It culminates in recent works characterised by his persistent questioning and deconstruction of contemporary art. The exhibition is presented in collaboration with the Korean Cultural Centre, London, which presents a concurrent exhibition of the artist’s work.

Kim Yong-Ik’s exhibition at Korean Cultural Centre takes place from 26 September to 4 November 2017

http://www.spikeisland.org.uk/

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The first UK solo exhibitions by South Korean artist Kim Yong-Ik

Spike Island, Bristol and the Korean Cultural Centre UK, London announce two exhibitions by Korean artist Kim Yong-Ik (b. 1947), marking his first solo presentation in the UK. Kim’s 40-year career as an artist, activist and teacher – spanning a turbulent struggle from dictatorship to democracy in South Korea – has had a profound impact on the country’s modern art history, influencing many younger artists.

The exhibition at Spike Island surveys an array of works from the 1970s onwards, whilst KCCUK focuses on Kim’s paintings from the 1980s and 1990s. Part of the Korea/UK Season 2017-18, a programme of extensive cultural events across the UK celebrating Korean creatives, these exhibitions provide a timely insight into Kim’s influential oeuvre.

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NOT VITAL17

RopacNew

GALERIE THADDAEUS ROPAC – HALLE
NOT VITAL
DAVID & GOLIATH
Opening:
Saturday 29th July 2017 | 10.30 am
Exhibition: 29. Juli – 31. August 2017
VILNIUSSTRASSE 13, 5020 A-SALZBURG
http://ropac.net/exhibition/david-goliath

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Galerie Thaddaeus Ropac presents David & Goliath, an exhibition by Swiss artist Not Vital in the Salzburg Halle space. Combining sculptures, installations and works on paper, the exhibition features a selection of his most recent works.

Not Vital’s practice is influenced by his nomadic lifestyle. Born in 1948 in Sent, a village located in scenic valley of the Engadin in the Swiss Alps. At the age of 18, he started travelling the world, immersing himself in the cultures of the places where he settled successively: New York, India, Niger, Brazil, Patagonia, the Philippines. Since 2008, he has established a studio in Beijing, where he spends five months a year. He met skilled craftsmen who allowed him to apprehend materials in a free way and imagine without technical boundaries.

The exhibition will present ceramic HEAD sculptures, made in Jingdezhen, the city renowned for being the capital of ceramics in China. Drawing inspiration from the impressive chimneys used to fire the kiln, Not Vital adapted the ancestral techniques of Chinese ceramics to produce totem-like sculptures, among the highest ever realized in this medium.

Not Vital will also present five marble sculptures made of ‘Dali stone’, a type of white marble named after the region of Dali in southern China. The marble pieces have been sliced open to reveal the hidden landscape-like lines within the texture, echoing the rugged alpine scenery of his birthplace.

His series of POLES (2016) is a reference to the road signs used during the periods of snow in his native Engadine. Presented individually or in groups against a wall, they become totems featuring at their top elements reminiscent of sculptures previously realized by the artist.

Like Henry Moore, the artist is also interested in the sculptural presence of the bone and gives the skeleton an architectural dimension. Pelvis (2008) is an enlarged version of a camel’s pelvic bone that epitomizes the close relationship Not Vital maintains with the animal world in his work.

Inspired by his on-going nomadism, A Plane, A Boat, A Car, A Sled (2011) combines a variety of forms to materialize an imaginary and universal vehicle that expresses the multiplicity of means of transport necessary to reach the remote places where he settles.

The broad diversity of his work has always been inspired by the relationship between sculpture and architecture but also by nature, exploring the boundaries between abstract and figurative forms. Not Vital’s work is marked by a large array of media such as plaster, steel, marble and ceramic. Using their potentiality with extreme dexterity, as if they were as many different languages, he likes to twist their usual function to give them another way of being.

His work has been featured in the 49th Venice Biennale, Italy (2001) entitled Plateau of Humanity curated by Harald Szeemann. Major recent exhibitions followed at the Kunsthalle Bielefeld/Germany (2005), The Arts Club of Chicago/Illinois (2006), Ullens Center for Contemporary Art Beijing/China (2011), the Cabinet d’Arts Graphiques, Musées d’Art et d’Histoire Geneva/Switzerland (2014) and the Museo d’arte di Mendrisio/Switzerland (2014–2015). In 2013, the large-scale installation 700 Snowballs was on view on the Isola di San Giorgio Maggiore in Venice, Italy. In 2016, the Yorkshire Sculpture Park hosted the first major UK exhibition of Not Vital’s work and his largest museum project to date.

Not Vital has established a foundation in Ardez, a small historic village in the Engadine, in 2003 with the aim of preserving the cultural assets of the valley. He also has a sculpture park near Sent and has realised contemplative buildings all over the world, among which NotOna Tunnel and NotOna Island, both 2009 in Patagonia, Chile.

http://ropac.net/exhibition/david-goliath

 

 

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IMIKNOEBEL

RopacNew

GALERIE THADDAEUS ROPAC – VILLA KAST
IMI KNOEBEL
NEW WORKS
Opening:
Saturday 29th July 2017 | 11.30 am
Exhibition: 29. Juli – 26. August 2017
MIRABELLPLATZ 2, A-5020 SALZBURG
http://ropac.net/exhibition/new-works-17

 

 

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Galerie Thaddaeus Ropac is pleased to present a comprehensive exhibition by German artist Imi Knoebel, consisting of Datums-, Drachen- and Schnitt-Bildern as well as his new miniature series Elements, from 29 July until 26 August 2017.

In his new works, Imi Knoebel (b 1940 in Dessau) once again explores the remarkable vitality of colour reduction and formal abstraction. In these pictures – as indeed in all his work – he remains true to the tradition of abstract, non-representational art, following artists such as Kazimir Malevich or Piet Mondrian.

After puristic line paintings, light projections and white paintings (1972-75), Knoebel first used colour in 1974; from 1975 onwards he went on to overlapping coloured rectangles called Mennigebilder [red lead pictures] and finally to a garish, gesturally expressive application of paint on plywood or metal panels placed in a specific spatial relation. Since the 1990s, Knoebel has increasingly been using aluminium as a painting ground, and has begun to put together works composed of cut-out aluminium elements combined to form geometric colour fields, the significant features being the colours and their boundaries.

The Datumsbilder (Date Paintings) from the Liaison Astéroïde series consist of combined aluminium and wall objects, their silhouettes displaying a wide variety of irregular geometric forms. In these works, the artist focuses on the identity of amorphous bodies resulting from the convergence of two diverse elements – as in a collision of asteroids. They do not merge into a homogeneous whole, however; the boundaries remain clearly visible, and different materials are visually rendered by means of corresponding colouration and application of paint.

The idea of the kite as a diagonal, dynamic element has been central to Knoebel’s work since the early 1970s. The minimalist, irregular tetragons, entitled Drachenbilder (Kite Paintings), are characterised by very fine, straight and diagonal cuts. The resulting sections of the layered monochrome aluminium panels are reminiscent of the shape of kites.

The new pictures contrast with Knoebel’s frequent triad of primary colours, which became the symbol of purely non-representational painting at the beginning of the 20th century. The formal paradigm of Kazimir Malevich’s Black Square, referenced here in metallic and reddish hues, remains recognisable.

Almost like a development of the Drachenbilder, a discreet, very regular, yet apparently quite arbitrary line runs through the monochrome surfaces of the new Schnitt-Bilder (Cut Paintings). This playful division, which cuts through the picture at a completely unexpected place, alters its balance, giving it a totally new aesthetic.

In his new series named Elements, Knoebel’s playful treatment of colour and dimension becomes particularly clear. Groups of tiny organic forms – comparable with nano-versions of the other works – are presented as a frieze. The recurring exploration, in the Elements, of the possibilities offered by reduction and abstraction shows the emotional and intellectual power of geometry. Beyond the colouration, Knoebel’s pictures become objects of purely aesthetic experience and perception. His works are always based simultaneously upon the principles of innovation and continuity.

Besides solo exhibitions of Knoebel’s work held in museums including Kunsthalle Düsseldorf (1975), Kunstmuseum Winterthur and Kunstmuseum Bonn (1983), and in the Deichtorhallen Hamburg (1992), he was represented at documenta 5, 6 and 7. In 1996 the Haus der Kunst in Munich held a major Knoebel retrospective. 2008 saw a comprehensive permanent exhibition, at Dia:Beacon, of the legendary block of works 24 Colors – for Blinky (1977) presented by the Dia Art Foundation, New York. In 2009 the Neue Nationalgalerie, Berlin showed a retrospective with key monumental works, starting from the famous Room 19. Parallel to this exhibition, the Deutsche Guggenheim Museum in Berlin showed works from the collection of the Deutsche Bank and new works. In June 2011 Knoebel’s monumental stained-glass windows were consecrated in Reims Cathedral. In 2014, the Kunstmuseum Wolfsburg celebrated Imi Knoebel’s 75th birthday with the hitherto most comprehensive exhibition of his works from almost 50 years. In 2016 the Musée National Fernand Léger showed new works by Knoebel in dialogue with ceramics by Fernand Léger. This year a comprehensive solo exhibition at Skulpturenpark Waldfrieden, Germany will be shown from 15 July – 3 December.

Imi Knoebel’s works are represented in distinguished international collections including the Musée National d’Art Moderne/Paris, Dia: Beacon and Dia Art Foundation/New York, Bonnefantenmuseum/Maastricht, MMK/Frankfurt, Berardo Museum/Lisbon, Broad Contemporary Art Museum/Santa Monica, MoMA/New York, MOCA/Los Angeles, Museo Reina Sofia/Madrid, Hamburger Bahnhof/Berlin, Norton Museum/West Palm Beach and the Goetz Collection/Munich.

http://ropac.net/exhibition/new-works-17

 

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GodfriedDonkor

Gallery1957

Gallery 1957, Accra
Godfried Donkor
Opening: 7 August 2017 |
Exhibition: 8 August – 30 September 2017
Kempinski Hotel Gold Coast City
PMB 66 — Ministries
Gamel Abdul Nasser Avenue
Ridge — Accra, Ghana
http://www.gallery1957.com/

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Godfried Donkor, Jamestown Masquerade XI, 2006, fine art print.
Courtesy of the artist.

 

This summer, Gallery 1957 hosts a major solo exhibition by Godfried Donkor featuring a new body of work created in Ghana. With a career spanning almost three decades, Donkor’s complex and multi-layered portrayals of historical events combine reality and fiction through collage, painting, drawing and photography.

Born in Ghana, Donkor studied across Europe before settling in the UK. Working across continents and cultures, his sociological explorations consider the shared histories of Africans and Europeans. Donkor has exhibited widely at museums and biennials internationally, including most recently at Afriques Capitales – curated by Simon Njami at La Villiette, Paris, 2017 – and EVA International – Ireland’s Biennial curated by Koyo Kouoh, Limerick, 2016

 

 

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Godfried Donkor, Black Madonna with Rainbow, 2010,
oil and gold leaf on canvas,

 

 

The artist’s new body of work reimagines an illustration by the 19th century English explorer Thomas Bowdich, now held in the National Maritime Museum, Greenwich, London and thought to be the first recorded image of the visual aesthetic and culture of the Asante region of Ghana. Created in 1818,The First Day of the Yam Custom depicts a procession from the annual Asante yam festival in Kumasi, an event held to mark the first harvest of yams during the autumn season. Sent to West Africa by the Royal African Company – a British commerce corporation – Bowdich was employed to negotiate a treaty with the king of the Asante region: Osei Bonsu. Bowdich’s image, and verbal description of the 1817 procession, was documented in his resulting publication, Mission From Cape Coast Castle to Asantee.

Using installation, painting and collage on board, Donkor’s exhibition will reinterpret this scene on a life-size scale. The exhibition follows the artist’s 4 month residency in Ghana with Gallery 1957.

 

 

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About Godfried Donkor

Born in 1964 in Kumasi, Ghana, Godfried Donkor grew up in Europe and studied at Central St Martins and SOAS in London and Escolla Massana in Barcelona, earning his B.A. in 1989 and M.A. in 1995.

Since the 1990s, Donkor has exhibited widely throughout the world especially in Africa, Europe and the United States. Selected group and solo exhibition include: Afriques Capitales, La Villiette, Paris (2017); EVA International – Ireland’s Biennial (2016); Conversations: African and African American Artworks in Dialogue, Smithsonian National Museum of African Art, Washington D.C. (2014-16); Speaking of People: Ebony, Jet and Contemporary Art, Studio Museum, Harlem (2014 -15); How far how near, Stedelijk Museum, Amsterdam (2014 -15); Hollandaise, Raw Material Company, Dakar (2013); Black Germany, Haus de Kunst, Munich (2012); Trade and Empire: Remembering Slavery, Whitworth Art Gallery, Manchester (2007-08); Abolition 07, Hackney Museum, London (2007); Around the World in 80 days, ICA, London (2006); Concerto in Light and Darkness no 1, National Museum, Ghana (2005); Pin Up, Tate Modern, London (2004); Financial Times, Ecole Regionale des beaux Artes, Nantes (2004); Whose Africa, Horniman Museum, London (2000); 7th Havana Biennale, Havana (2000); Wrestling and Mysticism, Dak’Art 2000, Dakar

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Godfried Donkor, The Olympins IV, 2003, oil on canvas,
163 cm x 183 cm. Courtesy of the artist.

 

Museum collections which hold works by the artist include The Stedelijk Museum, Amsterdam; Studio Museum in Harlem, New York; Whitworth Art Gallery, Manchester; Smithsonian National Museum of African Art, Washington D.C.; National Collection of Senegal; World Bank collection, Washington D.C.; Art Omi, Ghent, New York; Unilever collection; University of Helsinki; and National Gallery of Botswana.

He has taught and lectured widely as universities globally including: University of the Arts London; Kwame Nkrumah University of Science and Technology (KNUST), Kumasi; University of Lancaster; Nottingham Trent University; Otis College of Art and Design, California; Art Center College of Design, California; U.C.L.A, California and Mills Collage, Oakland.

 

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