S.M.A.K.

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S.M.A.K.

Michael Buthe .Retrospective

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.Rinus Van de Velde | Donogoo Tonka

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PRESS CONFERENCE
Thursday 3 March 2016 | 11am
opening: Friday 4 March 2016 | 8PM.
Exhibition: 05.03 – 05.06.2016
Jan Hoetplein 1, 9000 Gent Belgium
S.M.A.K. presents a retrospective of work by the German artist Michael Buthe. His work responds in a subversive yet imaginary way to the disappearance of spirituality and myth from the Western world.

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Michael Buthe

At the start of his intensive career the artist took part in such major exhibitions as When Attitude became Form(1969) and Documenta V (1972). Buthe’s oeuvre initially showed traces of such modernist movements as Minimalism and Informalism. As from the early 1970s, the artist became fascinated by non-European cultures and regularly travelled to Morocco, the Middle East and Iran. Increasingly, his work started questioning the Western tradition and exuded the atmosphere of the social and societal utopias of the 1960s. Buthe saw art and life as an interwoven whole and took an open and uniting approach to change and diversity. His work presents a critical and imaginary response to the disappearance of spirituality and myth from Western society.

 

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Michael Buthe created textile works, drawings, paintings, assemblage sculptures, photos, collages, diaries and films. The only two of his installations that have been preserved form focal points in this exhibition: Taufkapelle mit Papa und Mama (1984) and Die heilige Nacht der Jungfräulichkeit (1992). In 1984, Buthe mounted an extensive show at the Museum of Contemporary Art, the forerunner of S.M.A.K. Taufkapelle mit Papa und Mamawas created for that exhibition and remains an important work in the museum’s collection to this day.

Michael Buthe | Retrospective has been organised in association with the Museum of Art Lucerne and Haus der Kunst, Munich. Initiative and concept: Heinz Stahlhut of the Museum of Art in Lucerne. With the support of Kunststiftung NRW.

 

Rinus Van de Velde
his second solo exhibition at S.M.A.K. is based on Donogoo Tonka by the French author Jules Romains. Van de Velde visualises the story in a storyboard showing nine charcoal drawings in which he himself plays the leading part.

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Rinus Van de Velde (1983, Leuven, Belgium) draws himself as an actor in the biography of an imaginary artist. He builds up his life stories on the basis of found photos and photos of scenes he stages himself. In this context he assumes the identity of various characters.

 

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The large, detailed images are accompanied by texts that establish a context. The drawings look virtuosic, direct, light and cool. But you soon discover the underlying layers: cutting irony, thorough research, visual intelligence, a free imagination and great sensitivity. Van de Velde draws in charcoal. This enables him to work fast and in a consistent style, and brings out the documentary archive nature of his work better. For the S.M.A.K., Van de Velde is making a new installation with drawings.

A catalogue will be published for each exhibition.

http://smak.be/en/exhibition/876

 

 

 

 

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DIGITAL FLOWS

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 MACT/CACT Contemporary Art in Canton Ticino
DIGITAL FLOWS
Opening:Saturday 5 March 2016 at 5.30 p.m.
Künstlern: Gianluca Abbate, Miguel Andrés, Barbara Brugola, Katharina Gruzei,
Hwayong Jung, Cristina Ohlmer, Marta Roberti, Rimas Sakalauskas
Curated by Visualcontainer, Milan.
Ausstellung: 5 March – 3 April 2016
http://www.cacticino.net/
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DIGITAL FLOWS is the exhibition that opens the 2016 season. Curated by Visualcontainer Milano, the exhibition also pays tribute to the tireless labour of love conducted by this video archive, which – by virtue of the quality of its commitment and in parallel with the off space [.Box] – penetrates into the sometimes sterile recesses of the more accredited museum institutions. Established in 2008 in the heart of Milan, Visualcontainer has become something of a showcase, primarily for archiving and presenting the idiom of the artist video, a language that is still very liquid and in the throes of vigorous evolution. Its directors’ international approach and global vision have raised its status to that of a privileged location, something along the lines of a German-style Archiv und Kunsthalle of the language of video, set down in the very heart of Italy’s business capital and crystallised more by virtue of its contents than because of any kind of institutional approach.

The video medium has undergone many of what might be termed transitory changes since the seventies, progressing from the yoke of the performing arts to a cross-fertilisation with the then-powerful cathode ray tube TV, when the force of advertising ploughed many a powerful furrow across the market of imagery, a parasite that sucked so much of the lifeblood from video art and artistic language as to surpass them in many cases and induce authors to correct and readjust their – often cannibalistic – aim at the means of production itself.
Video, like photography, is the most immediate documentary mirror of the reality around us that shatters us into the trans-identity of globalism.
Since the days when video was essentially experimentation and an antithesis response to the visual experience traceable to painting (we are in the late sixties), in today’s world, where “we’ve already tried everything”, novelty comes paradoxically from the resurgence of digital, which imbues our entire

350 h lapse of view

existence with a fixation with socio-global communication that nobody ever necessarily asked for, but that nevertheless induces a new aesthetic model.

DIGITAL FLOWS sets out to outline and highlight this latest phase of video production. This is how the curators, Alessandra Arnò and Paolo Simoni, describe the exhibition and the curatorial choices they have made.

[…] “The image, in its digital transcendence, is now immaterial: it is a bit, a beam of light: it lives among the clouds and passes rapidly through the web of data. So what does that leave us of its ‘inconsistency’ and what is that attracts us towards the video image’s non-materiality: could it be its evocative or illusory potential?”

DIGITAL FLOWS is a visual flow that induces the observer to experiment with different levels of awareness of sight, moving along a progressive installation that starts from the peak of visual fascination with numerical data, passes through our sense of disorientation between everyday reality and digital panoramas and ends up illustrating the observer’s own condition by simulating a self-representation.

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The first piece on show is Miguel Andrés’ SYSTEM, which represents a sort of mirror where observers can draw comparisons between themselves and a hypothetical machine-man of the future, where the experience of the senses is replaced by a precompiled technological equivalent.

Synthetic beauty is represented by the self-generating forms of perfect landscapes in the work EUPHORIA by Hwayong Jung. The elegance of the fractal formulae that simulate the concept of self-similarity found in the real world becomes something of a trap for the eye, leading to the peak of visual fascination and full immersion in these digital scenarios.
As a result, the exhibition room becomes a place that seems to be tasked with the ‘apparition’ and the ‘manifestation’ of the numerical algorithm that manipulates real data by providing a constant random simulation of perfect non-material forms.

The observer’s eye is deceived once again by the reassuring representation of everyday ordinariness in the work of Rimas Sakalauskas. SYNCHRONIZATION reveals structures that unexpectedly shy away from their usual urban location. As the real scenario changes shape, bit by bit, the cityscape’s reassuring stability comes to life, changes connotation and is transformed into a launchpad pointing towards the unknown. The real object returns to the ‘virtual’ world of ideas with an inverse motion.

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A perfect representation of the contemporary world is proposed as a continuous flux of situations and scenarios in Gianluca Abbate’s work PANORAMA. Digital reworking restores all the contemporary melting pot’s intrinsic chaos, laying down layer upon layer and limitless landscapes in a single irrepressible flow of images of the global world.

While the audiovisual works experienced up to this point all play with the concept of disorientation, the next one, LAPSE OF VIEW, for which Barbara Brugola drew her inspiration from Caspar David Friedrich’s celebrated Wanderer Above a Sea of Fog, provides a moment of reflection about visuals, a return to ‘true’ vision, exactly like the character who stands waiting in quiet observation of the horizon, his gaze surveying the whiteness. The moment is a very private one, when the observer comes face to face with reality and the suspension of his gaze.
It brings us back with a jolt to reality, to vision and to the history of the visual arts.

Inspired by the works of the Lumière brothers, WORKERS LEAVING THE FACTORY (AGAIN) by Katharina Gruzei is something like a contemporary take on the painting of the Fourth Estate, where individuality becomes a collective body. The workers in the title could be men, automatons or slaves: in any case, they are participants in global industry. Like the workers illustrated by the Lumière brothers, they are actors in the industry of imagery.
This makes the work into a further mirror for ‘reflecting’, both sociologically and digitally, on contemporary conditions.

The exhibition experience also extends to screens and devices, which unexpectedly convert from objects we use every day to become places where works of art appear, re-attuning the eye to exercising its sight, as in Cristina Ohlmer’s piece PIXEL MOTION. The little coloured squares in an exercise book transform into the unit of digital measurement, the pixel. In ten exercises of style, the pristine cloak of the black forest becomes the pretext for recontextualising the role played by pixels and digital representation in natural analogical space.

Marta Roberti’s work SCARABOCCHIO similarly revives a classical animation on the screen of an everyday device, which for the occasion becomes a pocket digital memento for this human-insect hybrid, in an attempt to restore its own equilibrium.

The exhibition comes full circle and then reopens with mirror works, where visitors can ‘reflect’ on their existential condition before letting themselves go with visual pleasures. So DIGITAL FLOWS plays on visual fascination, on the suspension of disbelief and on digitally reworking real data, opening up multiple levels of interpretation both of how we use and relate to technology and of its evocative, illusory power.

Alessandra Arnò, 2015 […]

Mario Casanova, 2016
Translation Pete Kercher


KEVIN A. RAUSCH

GALERIE GERERSDORFER
KEVIN A. RAUSCH
“never relaxed”
Vernissage: Mittwoch, 16. März 2016 | 19 Uhr
Zur Eröffnung spricht André Lindhorst
Kurator, ehem. Leiter der Kunsthalle Osnabrück
Ausstellung: 16. März – 23. April 2016
Währinger Str. 12 – 1090 Wien
http://www.gerersdorfer.at

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Kevin A. Rausch “I need something new”2016
Mischtechnik auf Leinwand,  180 x 130 cm

Kevin A. Rausch, ist ein exponierter Vertreter der jungen Österreichischen Künstlergeneration. Kevin A. Rausch setzt sich in seinen Arbeiten mit aktuellen politischen Themen, Verwerfungen und gesellschaft – lichen Stimmungslagen auseinander. Seine Motivwelten, die dem Landschaftsgenre nahe -bstehen, changieren zwischen Apokalypse und Utopie, Wirklichkeit, Fiktion und Vision.
Seine Malerei und seine Papierarbeiten, die er zumeist in Mischtechnik realisiert, integrieren klassische Gestaltungstechniken der Bildenden Kunst, nehmen aber auch Formen aus dem Vokabular der Trivialkultur auf. Die des Comics beispielsweise oder auch die radikalen Bild- sprachen von Kevin A. Rausch des Undergrounds und der Straße, wie z.B. Graffiti oder Wandkritzeleien. In den figürlichen Darstellungen wird oft das Unterwegssein thematisiert. Vor dem Hintergrund archaisch, unwirtlich oder apokalyptisch anmutender Landschaften arrangiert Kevin A. Rausch einzelne (meist junge) Menschen, Paare oder Figurengruppen. Oft wirken die Figurationen seltsam fremd, ungeschützt oder isoliert und auf sich selbstverwiesen. Geborgenheit oder Sicherheit suggeriert das schroffe und unbehaust erscheinen- de Terrain und unwirtliche Gelände,
in das Kevin A. Rausch seine Figuren oft stellt, selten.
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Kevin A. Rausch “come together” 2016
Mischtechnik auf Leinwand,  70 x 50 cm

Ein Beispiel für derartige Sujets des Künstlers ist das 2013 entstandenen Triptychon „Silence Is Closer“. Mit diesem Bild öffnet Kevin Rausch dem Betrachter einen dramatischen Raum. Ein einzelner Mensch, scheinbar eine junge Frau, ist in Rückenansicht zu sehen. Sie steht auf einem Berghang. Der Blick erfasst eine zwar faszinierende, aber doch auch chaotische Welt ohne Ordnung und Wegmarken. Angedeutet ist hier das Thema der Lebens – reise. Der Mensch ist auf sich alleine angewiesen. Er tritt in einegefahrvolle Welt ein, in der er sich zurechtfinden muss. Sie verheißt ihm Glück, doch kann sie ihn auch scheitern lassen oder in die Katastrophe führen.
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Kevin A. Rausch “mein letzter wille: idylle” 2016
Mischtechnik auf Leinwand,  180 x 130 cm
Kevin A. Rausch erzählt nicht. Er deutet an. Und er wirft knappe atmosphärische Schlag – lichter auf Situationen. Seine zwischen Skepsis und Optimismus angesiedelten Bilder sind
Aus druck eines Welt – und Bewusstseinszustandes. Kevin A. Rauschs Figuren sind sich selbst ein Rätsel. Sie sind auf der Reise und der Suche nach sich selbst.
Insbesondere die in Twilight- Situationen gestellten Motive oder auch die Nachtszenen des Künstlers wirken wie gemalte Psychogramme eines Missverhältnisses in der Beziehung von Mensch und Lebens – milieu. Ein Beispiel ist das 2012 entstandene Bild
„Phönix In The Sky“. Es zeigt einen Menschen, der eine nächtliche Straße entlang geht, einem unbekannten Ort entgegen. Die Straße scheint gefahrvoll und die Gegend ist unheimlich. Der, der da mutig diese nächtlich unheimliche Gegend durchwandert,
trägt einen Kapuzenpulli. Er scheint also jung zu sein. In der Hand trägt er einen Blumenstrauß. Die Straße scheint endlos. Ob er das Ziel jemals erreicht, bleibt offen. Nachtvögel begleiten den einsamen Wanderer. Wie in einem Alptraum stürzen sie auf ihn herab um ihn aggressiv zu attackieren. So wie hier – als bildbestimmende Chiffre und als Symbol – findet sich das Symbol der unsicheren Straße oder des gefahrvollen
Weges oft in Gemälden und Papierarbeiten von Kevin A. Rausch. Die über dieses Motiv vermittelte Realität ist zwar oft radikal, beängstigend und bedrohlich, aber niemals ausweg- los oder ohne Hoffnung.
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Kevin A. Rausch “make it snow” 2016
Mischtechnik auf Leinwand,  50 x 70 cm
In den Bildern von Kevin A. Rausch ist die Landschaft oft Metapher für Heimat. Das Bild
„Painter In A Starry Night“ von 2013 nimmt deshalb einen besonderen Stellenwert im Oeuvre des Künstlers ein, weil das Thema „Heimat“ hier paradox umschlägt und zum Topos „Wildnis“ avanciert. Eine Gebirgslandschaft ist dargestellt. Die Elemente sind entfesselt. Kosmos und Welt scheinen in Aufruhr. Perspektiven sind verunklärt. Wolken ballen sich am Himmel. Blitze zucken durch die Nacht, eine apokalyptische Chaosszenerie tut sich auf. Der wilde Pinselduktus und die abrupten Rakelspuren, unterstreichen den aggressiv – bewegten Charakter der Komposition.
Mit raffinierten Anspielungen an die alten Meister der Kunst interpretiert
Kevin A. Rausch das Thema der „Wildnis“ völlig neu. Das Thema der Wildnis steht bei Kevin A. Rausch als Synonym und Inbegriff für die Unbeständigkeit heutiger Existenz.
Wie vorihm Hieronymus Bosch, Goya, El Greco, Max Ernst, Ludwig Meidner oder Oskar Kokoschka bis hin zu heutigen Künstlern, beispielsweise Neo Rauch, haben sich Kunstschaffende zumeist in von Krisen und gesellschaftlichen Verwerfungen geschüttelten Epochen auf das Thema der Wildnis bezogen. Auch ihnen galt die Wildnis als eine Metapher für die Unsicherheit und Gefährdung des Menschen in Konflikt – und Krisenzeiten.

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Kevin A. Rausch “shy scarlet” 2014
Mischtechnik auf Leinwand,  70 x 80 cm
Die friedliche Idylle und die arkadisch – glückversprechende Natur zitiert Kevin A. Rausch in seinem Oeuvre ebenfalls. Und zwar oft in Bildern mit hellen, offenen und weiten
Land- schaften mit traumverlorenen Situationen, wie beispielsweise „Easy Love“
von 2012. In ihnen ist die Landschaft unberührt. Hier wird sie zur Traumlandschaft und zum Zufluchts ort von Frieden, Glück und Liebe. Doch der Topos der Idylle oder der Natur wird immer wieder radikal vom Künstler verworfen, um sich sogleich wieder davon zu distanzieren und das arkadische Landschaftsbild als Fiktion und Klischee zu demaskieren.
Mit dem klassischen Landschaftsbild haben die Werke von Kevin A. Rausch nichts zu tun.
Vom ursprünglichen Naturzustand der Welt oder der Vorstellung einer Welt, die göttlich geordnet war, wie noch von den Malern der Romantik propagandiert, ist bei ihm keine Spur. In den Bildern von Rausch ist die Welt ohne Überbau. Sie ist ein brisanter, undurchschau – barer Ort, eine Wildnis, in der sich der Einzelne durchschlagen und seinen Pfad suchen muss. Erschütterungen und tiefe Beunruhigungen dominieren die gesellschaftlichen Verhältnisse. Die Kunst von Kevin A. Rausch ist hochaktuell. Eine Grundstimmung ist in seine Bilder einge- flossen. Das Gefühl, den Verhältnissen ausgeliefert zu sein, ist in diese Bilder eingegangen.
André Lindhorst, Berlin 2015
Assistenz, Co – Kurator by KÖPPE CONTEMPORAR

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Kevin A. Rausch
13.6.1980 geboren in Wolfsberg, Kärnten
2002 – 2006 Studium an der Wiener Kunstschule
2005 Artist in Residence, The Townhouse Gallery, Kairo
2006 Nominierung „Georg Eisler Preis“, BA-CA Kunstforum
2007 Artist in Residence, Kunstraum-St.Virgil, Salzburg
2009 u. 2011 Nominierung „Walter Koschatzky Kunstpreis“,
Museumsquartier Wien
lebt und arbeitet in Wien

Melike Kara

Peres Projects, Berlin
Melike Kara
In Your Presence
Opening Saturday, 13. February 2016 | 6–8PM
February 13 – March 11, 2016
Karl-Marx-Allee 82, 10243 Berlin
http://peresprojects.com/exhibitions/melike-kara/

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Face to face, he said, but the door does not seem to follow the advancements of your pressing body. Faces are not facts, nor are they facets, but rather acts of expression. With that in mind you relax, leaning your head and body against a brick wall, waiting for the next best thing to happen. From a glance you see the note ahead of you: Back Anytime Soon. Tick tock, tock tick, take note: time does not pass on equal terms to two distant bodies. To those who leave anybody so aimlessly pressed up against a wall waiting, today is not anytime soon, but rather any given day, sooner or later. Wer weiß, wann. Was weiss wer. Web wide world. Who will wait. Water washes water, with wasser, as well. Mix well,

16-MK13287-in-times-of-quick-showers-2015-EMAIL-1600x1068.jpgbut do not shake. Shhhhhh! Can you hear the ticking, or is the sound only circulating my own mind? Aimlessly placed bodies and their equally amputated parts can go numb in the long run. Knock knock! Who’s there? Any. Any who? Any time soon. In the unevenness of time, to the person it concerns his absence depends on the urgency of his business, not the advancements of your own pressing body. You might seem to have all the time in the world, but the world sure doesn’t. Listen; speaking of timezones, what one single item would you take to a remote island? Take your time before you answer, you can always leave a message on my phone later. Stranded, you will start to hate islands and all that they stand for. Waves washing the sand, redundant clocks running out of battery, rounded coconuts, and the deceiving milkiness of coconut water.

17-Melike-Kara-In-Your-Presence-Install-1a-EMAIL-1211x1600.jpgAfter all, it’s not milk, but water. Water washes waves with water, not milk. Meanwhile, can I charge my phone in your wall, I’m expecting an important call, from somebody, important. Ring ring! Who’s there? Some. Some who? Some body, important. A pressing body presses itself against another but only one of them seems to give in. As one body fails and falls to the ground, the other walks away, leaving behind nothing but footprints in the sand that could belong to anybody who owns a pair of feet. Waves washes away waves with water, wasser and well, alone, you remain, stranded, with your favourite item. You write a note from right to left and place it on top of the other: Be right back. Tick Tock! Who’s there? Not. Not who? Not anybody that you know. You sit down in silence, on an island, killing time, as if time had a body to break down. Stranded islands always seem so remote, and even more so in winter. In the absence of anything happening, all you recall is the story of an old nordic esoteric eccentric who died alone on a remote island after following a pure coconut diet. Day in and day out, he drank nothing but this milk-impersonating water.

15-MK13374-part-the-horses-mane-2016-EMAIL-1133x1600.jpgWatching waves washing, water washing water, Wer weiß wann. When they then found him numb and lifeless they were unsure if it was the fatal fall of a coconut or his faddy diet that in the end killed him. Either way, it was an end. Speaking of, time is up. So, what is your favourite item, the one you would take to a remote island? The item of your choice is time, not because it rhymes, but because it seems as if you have all the time in the world, even though the world itself doesn’t. Shhhhhh! I can no longer hear the ticking, unless you tell me that it’s touching you too.

Hanne Lippard

The Original Image

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l’étrangère
The Original Image
Private view: Thursday 10 March | 6.30-8.30pm
Mark Corfield-Moore
Luey Graves, Martin McGinn
Ausstellung: 11 March – 16 April 2016
44a Charlotte Road
London EC2A 3PD United Kingdom
http://letrangere.net/

 

l’étrangère is delighted to present The Original Image: a group exhibition featuring three artists who treat art historical sources as a flexible material to be re-interpreted, re-configured, and played with in the present.

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The exhibition takes as its starting point the longstanding tension between art and image. While the canon of art history bears a heavy weight on artistic practice, images are permitted an unconfined circulation via the contemporary data streams that characterise our digital environment. Within this flux of extreme image-reproduction, how can artists address our state of cultural exhaustion? How can images from the past be transported to and questioned in the present? By the appropriating art history’s images, metaphors, symbols and archetypes, the works of The Original Image blur the boundaries between the original artwork and its many representations.

The work of British artist Martin McGinn addresses the complex relationship between contemporary painting and art history. In his works on canvas, the two-dimensional images of art history – pages from publications, photographs, posters and postcards – become tools with which McGinn questions their omnipresence. This focus on ephemeral reproductions exalts their status within the frame and ground of the canvas. Exhibition catalogues usually found on a coffee table for leisurely perusal become still lives in their own right, whilst printed reproductions of works by Goya, Picasso and Van Gogh become floating, scrunched-up sculptures. In other works, McGinn uses both real and painted pins and tape, which hold multiple images together in an illusory collage. This slippage between the illusion of depth and the flat reality of the canvas is key to McGinn’s undoing of the original image.

The work of Luey Graves also uses the medium of painting to collage together recurring motifs from art history. This bringing together of familiar fragments is intended to build alternative narratives to the canonical history of patriarchal representation. Like the floating movement of browser windows on a computer screen, Graves shifts these multiple planes into different formal compositions. Motifs of modernist sculpture, the caryatids of Ancient Greece and Etruscan Bronzes are contrasted with domestic activities, such as preparing vegetables or kneading dough. The rigid symbols of ‘high’ culture, which are brimming with objects and objectifications of female form, are playfully subverted by these household vignettes. Private and public are conflated in a poetic configuration within each intimate panel.

The photographs, drawings, and wall-based sculptures of Mark Corfield-Moore comparatively deny the viewer a stable narrative. By appropriating the styles, tastes and aesthetic orders of art historical movements, such as Rococo, Classicism, and the Baroque, Corfield-Moore fashions these sources into new, decorative configurations. From archival engravings of unrealised Rococo fountains to extravagant drawings of Venetian regatta boats, Corfield-Moore’s whimsical reference points from the past evidence the ubiquitous nature of categories such as leisure, pleasure, and play. For The Original Image, the artist has appropriated archival imagery of classical busts held at the British Museum, piped icing upon their surface and then re-photographed them. The juxtaposition of marble with a playful, sugary ornamentation, subverts these authoritative subjects and the weight of their individual histories. They become re-gendered; power and prestige falls to delicacy and fancy. For Corfield-Moore, the genuine article, or the original image, is but a starting point in a continuous chain of derivatives that he utilises as tools with which to construct a potentially infinite set of orders and formations.

Feste Feiern 125 Jahre

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KUNSTHISTORISCHES MUSEUM WIEN

Feste Feiern

125 Jahre – Jubiläumsausstellung
Presse: Montag, 7. März 2016 | 10 Uhr
Eröffnung: Montag, 7. März 2016 | 18.30 Uhr
Kuratorin Gudrun Swoboda
Ausstellung: 8. März – 11. September 2016
Maria-Theresien-Platz, 1010 Wien

 

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Das Kunsthistorische Museum feiert 2016 sein 125-Jahr-Jubiläum. Aus diesem Anlass zeigen wir eine große Sonderausstellung zum Thema »Festkulturen«, an der sich alle Sammlungen des Hauses beteiligen. Die Schau wird durch Leihgaben aus nationalen und internationalen Sammlungen bereichert, wie etwa Goyas »La gallina ciega« aus dem Prado oder ein Designer-Outfit von Alexander McQueen aus dem V&A Museum in London.

 

Celebration! 125 Years – Anniversary Exhibition / Feste Feiern. 125 Jahre – Jubiläumsausstellung

Die Ausstellung hat das Fest und seine Geschichte zum Inhalt und beleuchtet verschiedene Aspekte europäischer Festkulturen, die sich von der Renaissance bis zur Französischen Revolution bei Hof, in der Stadt und auf dem Land entwickelt haben. Feste waren stets ein Ausnahmezustand, in dem die Gesetze des Alltags vorübergehend außer Kraft gesetzt wurden. Im Zentrum stehen das höfische Festbankett und seine opulente Prachtentfaltung mit Tanz und Musik, sowie rauschende Feste unter freiem Himmel, die anlässlich von Krönungen, Hochzeiten, Geburtstagen, aber auch zur Zeit des Karnevals, bei Kirchweihen oder auf Märkten stattfanden.

 

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La gallina ciega (Blind Man’s Buff) (1.3 MB)Francisco de Goya (1746 – 1828)
1788  canvas, 269 x 350 cm
© Photographic Archive, Museo Nacional del Prado, Madrid

KUNSTHISTORISCHES MUSEUM WIEN
CELEBRATION !
125 YEARS – ANNIVERSARY EXHIBITION

In 2016 the Kunsthistorisches Museum celebrates its 125th anniversary. To commemorate this birthday we are hosting an important special exhibition on celebrations and festivities with artworks from all our collections as well as major loans from national and international collections, among them Goya’s “La gallina ciega” from the Prado, and a designer outfit by Alexander McQueen from the V&A Museum in London.

GG_599.jpgNocturnal Banquet (788 KB)Wolfgang Heimbach (Ovelgönne/Oldenburg c. 1613 – after 1678?) 1640 dated  copper, 62 x 114 cm  Picture Gallery © KHM-Museumsverband

The exhibition focuses on celebrations and how they evolved over time; it looks at various aspects of European festivities from the Renaissance until the French Revolution – at court, in towns and cities, and in the country. Festivities always mark a state of exception during which normal rules temporarily do not apply. The courtly banquet with its pomp and circumstance, which included dancing and music, forms the centre of the show; other sections feature out-of-doors celebrations to mark coronations, weddings or births but also staged during Carnival, church fairs or on market days.

FRANZ JOSEPH

ON THE OCCASION OF THE CENTENARY OF THE EMPEROR’S DEATH 1830-1916 IMPERIAL CARRIAGE MUSEUM VIENNA, SCHÖNBRUNN PALACE, HOFMOBILIENDEPOT. IMPERIAL FURNITURE COLLECTION AND SCHLOSS NIEDERWEIDEN Presented concurrently at four different venues, this major exhibition commemorating the 100th anniversary of the death of Emperor Franz Joseph takes a critical look at the man who personified the Austro-Hungarian Empire. Each venue focuses on a different aspect and/or theme. At the Imperial Carriage Museum in Vienna displays of carriages and clothing will focus on how the image of the emperor was carefully staged in all its aspects, ranging from opulent pomp to an almost un-imperial modesty. Franz Joseph’s personal preference for frugality, which the monarch made no secret of, can be seen from several of the vehicles he used and contrasts starkly with the enormous sums expended on running the court stables or on his personal security when he was out driving

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Franz Joseph (1.6 MB)vintage photograph, after 1900
© Schloß Schönbrunn Kultur- und Betriebsges.m.b.H.

Featuring original state coaches, magnificent trappings, exquisite gala dress and court liveries, this part of the Emperor Franz Joseph centenary exhibition will illustrate not only various ceremonial events such as state visits, celebrations of the imperial orders or the Corpus Christi procession but also how carriages were used in everyday activities. In addition, three major ceremonial events from the monarch’s long life will be focused on: his wedding to Elisabeth (1854), his coronation in Hungary (1867) and his funeral (1916). Many bystanders at the time felt they were witnessing not only the funeral of a long-serving monarch but the demise of an entire epoch.

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FRANZ JOSEPH SONDERAUSSTELLUNG
Anlässlich des 100. Todestages von Kaiser Franz Joseph findet an 4 Standorten in Wien und Niederösterreich (Schloß Schönbrunn, Hofmobiliendepot ● Möbelmuseum Wien, Kaiserliche Wagenburg Wien und Schloss Niederweiden) eine Sonderausstellung statt, die sich kritisch mit der Person des Kaisers auseinandersetzt.

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Schloß Schönbrunn, Wien
Mensch & Herrscher
16.3.–27.11.2016 täglich
9.00–17.00 Uhr
Kaiserliche Wagenburg Wien
Repräsentation & Bescheidenheit
16.3.–27.11.2016 täglich
9.00–17.00 Uhr
Hofmobiliendepot ∙ Möbel Museum Wien
Fest & Alltag
16.3.–27.11.2016 täglich
10.00–18.00 Uhr
 
Schloss Niederweiden, Niederösterreich
Jagd & Freizeit
16.3.–27.11.2016 täglich
10.00–18.00 Uhr

http://www.franzjoseph2016.at/

http://www.khm.at/en/visit/exhibition

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NEW DELI
Ende.Neu
Belle Shafir, Tel Aviv
Stefanie Busch, Dresden
Eröffnung 12.März 2016, 20 Uhr
Opening March 12, 2016 | 20 pm
It speaks Susanne Altmann, art historian (Dresden)
Exhibition: 12. März – 23. April 2016
Lützner Straße 36, Leipzig
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NEW DELI
Artist Talk
Künstlerinnengespräch
13. März 2016 | 15 Uhr
Kathrin Krahl, Soziologin und Kuratorin
in Gespräch mit Belle Shafir und Stefanie Busch
Lützner Straße 36, Leipzig
Exhibition: 12. März – 23. April 2016
Lützner Straße 36, Leipzig
 
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The artists Belle Shafir and Stefanie Busch met in the summer of 2012 and
began to talk about art, memory, escape, violence and presence. The exhibition
Ende.Neu is a station of this communication.
 
“My work shows the braill’sche palpation of my life …”
Belle Shafir works on physical and powerful video performances, drawings,
Collages and objects, she approaches as its history as the daughter of a survivor of
Auschwitz extermination camp.
The exhibition shows drawings Ende.Neu it with out getting repetitive moments of their
Family memory: Retrospectacle, fed from family photos. goes through the repetitions
to Belle Shafir in the footsteps of Historic different generations, experiences, architectures
and landscapes of their lives. It also shows the parts of the work horsehair; from delicate horsehair crocheted objects. The Crochet of horsehair describes Belle Shafir as dialogues with her father, who after WW2 large stables in Amberg in Bavaria operation, where they also spent a lot of time, before they migrated as a 19 year old to Israel.
 
Stefanie Busch shows the series one after the other, diffuse black / white screen prints, which contrasts dissolve from one image to another, similar to a film sequence. This blank blurred structures Landscapes suggest that we associate with beauty and desire, but of these days Pain, fear, persecution and disenfranchisement are embossed as the Sinai, the Mediterranean or the Balkans. In addition to this series, it shows more screen prints as Dresden, January 17, 2015. There is a Snapshot of an anti-racist demonstration at the peak of Pegida Movement – a powerful outlook in times of fear among the fugitives.
Likewise, it provides a portrait of the artist-colleague Helga Weissová out, this is a witness of the crime in Auschwitz. Screen printing is the adult, the surviving Helga Weissová.
Another work shows two 86Addis fashionably dressed women in front futuristic seeming backdrop in the 1980s in Ethiopia’s capital: an unusual and surprising Neck
from the time the poorest country in the world.
Stefanie Busch’s work is an attempt of the manifestation of coexistence in solidarity. As
we should ask ourselves this world otherwise?
The exhibition is an attempt Ende.Neu, the past and the present to simultaneously
consider and not to forget the One for the other.
 
Belle Shafir was born in 1953 in Amberg and migrated as a 19 year old from Israel.
She studied at the Avni Institute of Art in Tel Aviv. Since then she has participated in numerous national and international exhibitions, such as Petach Tikva Museum (Israel), gallery Maya Wildewuur, High Halen (Netherlands), Museum One-Harod (Israel),
AIR Gallery, Brooklyn, NY, (USA), Cite International des Arts, Paris (France), Sakshi Gallery, Mumbai (India), Pyramida Gallery, Haifa (Israel), Museum of Contemporary Art, Herzliya (Israel) Pasinger Fabrik in Munich. She lives in Tel Aviv.
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Stefanie Busch was born in Dresden in 1977 and studied at the Academy of Fine Arts in Lutz Dammbeck. She has to participated in numerous exhibitions, such as Galerie Baer Dresden, Kunsthalle Baden Baden, Urban Arts Space, Ohio State University, Columbus / Ohio (USA), Galerie Ilka Bree, Bordeaux (France), Alcatraz Gallery, Ljubljana (Slovenia), gallery Emilia Filly, Usti (Czech Republic), West Germany, Berlin, Center for Contemporary Art, Tel Aviv (Israel), contemporary art gallery, Leipzig. Stefanie Busch lives in Dresden.