carolee_schneemann

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MMK 1
MUSEUM FÜR MODERNE KUNST FRANKFURT AM MAIN
Carolee Schneemann. Kinetische Malerei
Opening: Eröffnung:
Dienstag, 30. Mai 2017 | 20 Uhr
Tuesday, 30. May 2017 | 8 pm
Kuratorin Dr. Sabine Breitwieser
Exhibition: Ausstellung: 31. Mai – 24. September 2017
Domstr. 10, 60311 Frankfurt am Main
 

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Carolee Schneemann: War Mop, 1983
Courtesy Carolee Schneemann, VG Bild-Kunst, Bonn 2017, Foto/photo: Axel Schneider

MMK 1
Carolee Schneemann. Kinetische Malerei
31. Mai – 24. September 2017
 
Als Pionierin der Performance-Kunst ist Carolee Schneemann (*1939), die im Mai 2017 auf der Biennale von Venedig mit dem Goldenen Löwen für ihr Lebenswerk ausgezeichnet wurde, in die Geschichte der Kunst eingegangen. Das MMK Museum für Moderne Kunst Frankfurt am Main präsentiert in Kooperation mit dem Museum der Moderne Salzburg eine Retrospektive der USamerikanischen Künstlerin.
 
Gemeinsam mit anderen Protagonistinnen und Protagonisten der 1960er-Jahre in New York City stellte Schneemann die Grenzen traditioneller künstlerischer Disziplinen sowie deren kulturellen Kontext in Frage, um verblüffend neue und herausfordernde Formen einer visionären, multidisziplinären Kunst zu erarbeiten. Die Präsentation stellt über eine Schaffensperiode von sechs Jahrzehnten eine Genealogie der Malerei von Carolee Schneemann vor, die buchstäblich in Bewegung gerät und zu bedeutsamen künstlerischen Innovationen und Durchbrüchen geführt hat. Die Ausstellung spannt einen Bogen von früher Malerei und Assemblagen über Performances des „kinetischen Theaters“ und experimentellen Filmen bis hin zu zeitgenössischen Installationen.
Schneemanns Arbeiten über Geschlechterrollen, Sexualität und die Verwendung des Körpers in der Kunst sind ungebrochen von großer Aktualität und haben nachfolgende Künstlergenerationen enorm beeinflusst“, sagt Prof. Dr. Susanne Gaensheimer, Direktorin des MMK. Auf der dritten Ebene des MMK 1 präsentiert die Werkschau von Carolee Schneemann berühmte Arbeiten und Performances zusammen mit bisher noch nie oder selten gezeigten Werken und rückt damit neue Facetten ihres künstlerischen Wirkens in den Fokus. Ausgehend von Schneemanns Landschaftsund Porträtmalerei aus der Mitte der 1950er-Jahre, die sich zu objekthaften „Gemälde- Konstruktionen“ entwickelt, wird die Rolle von Malerei in Verbindung mit ihren Performances, Choreografien und experimentellen Filmarbeiten untersucht.
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Carolee Schneemann: Up to and Including Her Limits, Februar 1976
Installationsansicht/installation view MMK Museum für Moderne Kunst Frankfurt am Main, Courtesy Carolee Schneemann, VG Bild-Kunst, Bonn 2017, Foto/photo: Axel Schneider
„Basierend auf einer wissenschaftlich fundierten Aufarbeitung wird ihr Werk in dieser Retrospektive in einer bisher noch nie dagewesenen Breite und Tiefe im Kontext der Malerei beleuchtet “, betont Dr. Sabine Breitwieser, Kuratorin der Ausstellung und Direktorin am Museum der Moderne Salzburg. In der umfangreichen Ausstellung werden rund 270 Arbeiten gezeigt, darunter Leihgaben der Generali Foundation in Wien, deren Sammlung als Dauerleihgabe am Museum der Moderne Salzburg situiert ist, aus dem Hamburger Bahnhof in Berlin, dem mumok – museum moderner kunst in Wien und der Sammlung der Künstlerin.
Carolee Schneemann studierte Malerei am Bard College in Annandale-on-Hudson, NY, an der Columbia University und an der University of Illinois. Sie begann früh, ihre Gemälde mit einfachen Mechanismen in Bewegung zu setzen und Fotografien und Gegenstände aus ihrem Alltag in Arbeiten zu integrieren, für die sie den Begriff Painting Constructions prägte. Zahlreiche Werke aus dieser Gruppe, in denen sie unter anderem auch Feuer als gestalterisches Material einsetzte, sind in der Ausstellung zum ersten Mal zu sehen. 1961 zog die Künstlerin nach New York City und wurde dort Teil der avantgardistischen Entwicklungen der Downtown-Kunstszene in Film, Tanz, Happening und Event. Künstler wie Andy Warhol, Claes Oldenburg und Robert Morris fotografierten Carolee Schneemann oder luden sie als Mitwirkende zu ihren Performances ein. Die den Frauen in der Kunst zugewiesene Rolle der schönen und stummen Repräsentantin forderte Schneemann dazu heraus, 1962 schließlich selbst choreografisch tätig zu werden. Sie choreografierte als erste bildende Künstlerin für das Judson Dance Theater (1962–1964), und trat als Édouard Manets Olympia in Robert Morris’ Site (1964) auf. Der Wunsch, die Malerei über die Leinwand hinauszutragen und zugleich Schöpferin und Darstellerin ihrer Bilder zu sein, führte zu einer hybriden Form von Performance und Fotografie, in der sie ihren Körper mit Werken wie unter
anderem Four Fur Cutting Boards (1962) einbrachte und damit Eye Body: 36 Transformative Actions for Camera (1963) schuf.
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Carolee Schneemann: Meat Joy, 1964
Courtesy Carolee Schneemann, P.P.O.W Gallery, New York and VG Bild-Kunst, Bonn 2017
Wiederholt sah sich Carolee Schneemann während ihrer künstlerischen Laufbahn mit Vorurteilen und Vorbehalten gegenüber ihrer Rolle als Frau und Kunstschaffende konfrontiert. In zahlreichen Werken und Texten setzte sie sich speziell mit dem weiblichen Körper im historischen und gesellschaftlichen Kontext auseinander und untersuchte Lust und Erotik aus einer weiblichen Sichtweise. In ihrem sexuell expliziten Film Fuses (1965) porträtierte sie sich selbst und ihren Lebensgefährten, den Komponisten und Musiktheoretiker James Tenney beim Sex. Schneemann
enthüllte darin gemeinsame Intimität und untergrub gleichzeitig die Formen gängiger Pornografie. In einer ihrer wohl bekanntesten Arbeit Interior Scroll (1975 und 1977) bringt Schneemann ihren Körper als Quelle „inneren“ Wissens in Stellung: Sie zieht eine Papierrolle aus ihrer Vagina und liest Zentimeter für Zentimeter einen Text über Sexismus und die Geringschätzung von Frauen in der Kunstwelt vor. Ihre Arbeit Meat Joy (1964) gilt heute als ein Meilenstein der Kunstgeschichte: ein ekstatisch-opulentes und erotisches Ritual, in dem Fleisch als Material in allen nur erdenklichen
Formen zelebriert und nebst anderen Werkstoffen wie Farbe eingesetzt wird. Als kritische Antwort auf die Malerei des Abstrakten Expressionismus entwickelte Schneemann mit Up to and Including Her Limits (1973–1977) eine Performance Installation, die den Körper der Künstlerin als Medium der Malerei einsetzt. Jüngere Werke wie die skulpturale Installation Flange 6rpm (2011–2013) zeugen von der Intensität, mit der die Künstlerin nach wie vor aktiv ist.
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Carolee Schneemann: Meat Joy, 1964
Courtesy Carolee Schneemann, P.P.O.W Gallery, New York and VG Bild-Kunst, Bonn 2017
Katalog
Zur Ausstellung ist die erste umfassende Publikation über Carolee Schneemann erschienen, herausgegeben von Sabine Breitwieser für das Museum der Moderne Salzburg, mit Aufsätzen von Sabine Breitwieser, Branden W. Joseph, Mignon Nixon, Ara Osterweil und Judith Rodenbeck sowie Texten von Carolee Schneemann. Separate deutsche und englische Ausgabe, gebunden, 280 x 240 mm, 320 Seiten, München,
Prestel Verlag. Der Katalog ist im MMK Shop für 49,95 Euro erhältlich.
Eine Ausstellung organisiert vom Museum der Moderne Salzburg in Kooperation mit dem MMK Museum für Moderne Kunst Frankfurt am Main. Die Ausstellung wird von Sabine Breitwieser, Direktorin des Museum der Moderne Salzburg, kuratiert; beratender Kurator Branden W. Joseph, Frank Gallipolli Professor of Modern and Contemporary Art, Columbia University, New York; Mitarbeit Tina Teufel, Kuratorin, Museum der Moderne Salzburg.
Im Anschluss an die Präsentation im MMK wird die Ausstellung im
MoMA PS1 in New York (ab 22.10.2017) zu sehen sein.

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ENSEMBLEINTRADA

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SERVITENVIERTEL
SCHAUSPIELHAUS
K O N Z E R T
EXCLUSIVELY PIAZZOLLA
ENSEMBLE INTRADA
Samstag, 17. JUNI 2017 |19 Uhr
Porzellangasse 19, 1090 Wien
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Eintritt 10,–€

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PROGRAMM

Astor Piazzolla “Four seasons” for piano trio
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FOTOGRAFIE1970–2000

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ALBERTINA
ÖSTERREICH
FOTOGRAFIE 1970–2000
Pressekonferenz:
DIENSTAG, 13. JUNI 2017 | 10 Uhr
Eröffnung: DIENSTAG, 13. JUNI 2017 | 18:30 Uhr
sprechen:
PROF. DR. KLAUS ALBRECHT SCHRÖDER
Generaldirektor der Albertina
DR. WALTER MOSER
Kurator der Ausstellung, Albertina
Ausstellung: 14. Juni – 8. Oktober 2017
Albertinaplatz , 1A-1010 Wien
 
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Manfred Willmann | Ohne Titel (aus der Serie „Das Land“), 1981–1989,
Abzug 1992 | Museum der Moderne Salzburg
ALBERTINA
ÖSTERREICH
FOTOGRAFIE 1970–2000
14. Juni – 8. Oktober 2017
Wie sieht Österreich im Fokus der eigenen, heimischen Linse aus? Österreichische FotografInnen befragen das eigene Land und seine soziokulturellen Identitäten. Ins Licht gerückt werden das Land, die politische Vergangenheit, Milieus und urbane Räume. Der Blick nach innen offenbart oftmals Aspekte, die im Begriff waren, zu verschwinden.

 

 
 
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Bernhard Fuchs Frau K., St. Margareten, 1999
C‑Print Albertina, Wien

 

Die 1970er-Jahre sind von einem Aufbruch geprägt, in dem FotografInnen ein neues Selbstverständnis entwickeln und sich vielfältige fotografische Strömungen herausbilden: Dokumentarische Strategien und die Auseinandersetzung mit dem Medium selbst zeichnen die Entwicklung der Fotografie zwischen 1970 und 2000 aus.

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Seiichi Furuya Staatsgrenze, 1981-1983, Lightjet-print Albertina Wien,
Erwerbung aus Mitteln der Galerienförderung des BMUKK 2016

Die Ausstellung zeigt u.a. zahlreiche Fotografien aus den hauseigenen Beständen sowie der Fotosammlung des Bundes am Museum der Moderne Salzburg und entsteht in Kooperation mit dem Bundeskanzleramt, Sektion Kunst und Kultur, sowie mit dem Museum der Moderne Salzburg.

Vertretene Fotografinnen und Fotografen: Heimrad Bäcker | Gottfried Bechtold | Norbert Brunner & Michael Schuster | Heinz Cibulka | Peter Dressler | VALIE EXPORT | Johannes Faber | Bernhard Fuchs | Seiichi Furuya | Robert F. Hammerstiel | Bodo Hell | Helmut Kandl | Leo Kandl | Friedl Kubelka | Branko Lenart | Elfriede Mejchar | Lisl Ponger | Gerhard Roth | Günther Selichar | Nikolaus Walter | Manfred Willmann

In Kooperation mit dem Bundeskanzleramt,
Sektion Kunst und Kultur sowie dem Museum der Moderne Salzburg.

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MICHELANGELOPISTOLETTO17

Biennaint.2017
Basilica di San Giorgio Maggiore
and Officina dell’Arte Spirituale
GALLERIA CONTINUA
MICHELANGELO PISTOLETTO.
EINS UND EINS MACHT DREI
One and One makes Three
Collateral Event of the 57th International Art Exhibition
La Biennale di Venezia
Curated by Lorenzo Fiaschi
Exhibition : 10. May – 26. November 2017
San Giorgio Maggiore Island, Venice
Tue–Sat: 10am-6pm | Sun: 2pm-6pm.
Linea Actv 2, stopping at San Giorgio, 3 minutes
from S. Zaccaria Piazza S. Marco.
Admission free
Bildschirmfoto 2017-05-29 um 14.02.30
MICHELANGELO PISTOLETTO One and One makes Three

© Foto EstherAttar-Machanek Venice 9 May 2017

MICHELANGELO PISTOLETTO
One and One makes Three
Collateral Event of the 57th International Art Exhibition – La Biennale di Venezia
Exhibition curated by Lorenzo Fiaschi
Promoted by Associazione Arte Continua
in collaboration with Abbazia di San Giorgio Maggiore – Benedicti Claustra Onlus
with the support of
GALLERIA CONTINUA, San Gimignano / Beijing / Les Moulins / Habana
Basilica di San Giorgio, Isola di San Giorgio Maggiore, Venice
From 10 May to 26 November 2017
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MICHELANGELO PISTOLETTO One and One makes Three

© Foto EstherAttar-Machanek Venice 9 May 2017

In the context of the Collateral Events of the 57th International Art Exhibition – La Biennale di Venezia, the Associazione Arte Continua is pleased to present a show by one of Italy’s most internationally representative artists, Michelangelo Pistoletto. The
project has been realized with the support of Galleria Continua , in collaboration with
Abbazia di San Giorgio Maggiore – Benedicti Claustra Onlus.
A key figure in the development of conceptual art and protagonist of the Arte Povera movement, Michelangelo Pistoletto wrote a chapter in the history of art in the second half of the twentieth century, helping to bring Italy to the centre of the creative scene. The exhibition, conceived for the basilica of San Giorgio Maggiore and for the adjoining spaces, the sacristy, the main choir, the Sala del Capitolo and the Officina dell’Arte Spirituale, is a reflection that directly addresses the destiny of humankind and the urgent need for a social change.
In Love Difference, the manifesto drawn up by the artist in 2002, we read: “Love Difference encapsulates a concept which goes beyond a rational notion of ‘tolerance’ for what is diverse and penetrates directly into the sphere of feelings (…). The first thing to accept, in an open, sensitive and warm fashion, are the differences between people and social groups, in order to finally give meaning to the word ‘humanity’.”
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MICHELANGELO PISTOLETTO One and One makes Three

© Foto EstherAttar-Machanek Venice 9 May 2017

In the centre of the basilica of San Giorgio Maggiore, Pistoletto presents Suspended Perimeter – Love Difference, an installation comprising a series of “suspended” mirrors that form a circular space. The work stands as a kind of opposite altar, with the mirrors mediating between the visible and the non-visible, extending vision beyond its normal faculties, expanding the features of the eye and the capacity of the mind, to the point of offering us a view of totality. Installed in a consecrated space devoted to prayer and worship, it acquires a renewed force, opening up reflection on the most delicate issues facing humankind in the contemporary world, such as the conflict between religions, the acceptance ofdifferences, multiculturality, but also the role art can still play in creating common ground for mutual engagement.
According to Pistoletto, the evolution of human society has reached a point where it is necessary to assume the maximum responsibility and commitment. In Il Tempo del Giudizio (The Time of Judgment), on view in the Sala del Capitolo (chapter room), the four most widespread religions in the world – Christianity, Buddhism, Islam, Judaism – are each prompted to reflect upon themselves in a moment of radical self-confession. Each religion is represented by a symbolic element placed in front of a mirror: a statue of Buddha, a prayer mat facing Mecca, a kneeler. The exception is Judaism, presented as mirrors in the form of the tables of the law. “‘Art takes on religion’ means that art actively takes possession of those structures, such as religion, which rule thought; not with a view to replacing them itself, but in order to substitute them with a different interpretative system, a system intended to enhance people’s capacity to exert the functions of their own thought”, declares the artist.
The exposition offers a summary of the artist’s whole career from his earliest works to today. The selection of the works on view includes both the most representative historical works from the beginning of Pistoletto’s artistic activity (1960) to the most recent (2017). Each of these works contains its own story and its own modernity in a space-time continuum that does not allow for splitting or sudden fractures. It begins with a series of self-portraits on canvas of his youthful period, where the artist asks himself about the search for his own dimension and own space. “(…) Seeing Bacon, I perceived that my problem and my drama were already there, declared, by a man searching for his own dimension and his own space, a cage of impenetrable glass, in which the man lived in such a dramatic state as to be suffocated, to be without a voice or space. The man was blocked, hunted, sick, destroyed, anguished, splendidly painted but, in his state, terribly isolated (…). I continued my search, condensing my work on the man, but attempting to
do the opposite of Bacon: to remove all expression and all movement from the figures, so as to cool down the dramatic effect’. Until he arrived at the mirror, which for the artist represented the search for his identity. “Who am I? What am I? How can I identify my existence through Art? Since I come from a totally figurative artistic culture, I took up my person as the image to identify. That is why I used the method of the self-portrait, which requires the use of the mirror. The image of myself, depicted life-sized, remains fixed in the painting, while the surrounding background has become a mirror. The world has entered the mirror transformed into a work of art and therefore my self-portrait has become the self-portrait of the world”. Through himself, Michelangelo Pistoletto discovers what is different from himself. The identity of his own fixed image corresponds to the identity of any other person; the virtual space of the mirror surface opens a door that puts art in communication with life.
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MICHELANGELO PISTOLETTO One and One makes Three

© Foto EstherAttar-Machanek Venice 9 May 2017

There is also a recent series of mirror paintings that depict Cuba and its people: “(…) starting from Cuba to develop a new idea of politics. This is my belief. From Cuba, at a time of global social pressure and crisis, we can start a new way of enacting our politics. Cuba must not capitulate to the sole model that guides the world, considering the current results. We can transform the world, starting from Cuba. It is a fertile land for experimentation, innovation and change. That is our purpose (…). A cultural, artistic and scientific platform has been consolidated in Cuba, upon which we can generate and help to grow a kind of politics that will lead to renewal of the whole society”. (Michelangelo Pistoletto, May 2015, Havana, Cuba).
This exposition, therefore, not only illustrates the genesis of Pistoletto’s work and of the image as the phenomenal identification of space-time, but accompanies us to today, to the most recent works where, in addition to the image, Michelangelo Pistoletto continues to work with his imagination. Through it, the artist proposes to configure the scene that opens on the future, once again leaving open the “triple dynamic” flow that inevitably includes the past, the present and the future.
Michelangelo Pistoletto was born in Biella in 1933. In 1962 he produced his Quadri Specchianti (Mirror Paintings), which soon won him international acclaim. In 1965 and 1966 he created the Oggetti in Meno (Minus Objects), considered to be fundamental for the birth of Arte Povera. In the 1990s he founded Cittadellarte-Fondazione Pistoletto in Biella, placing art in an active relationship with the various spheres of the social fabric in order to inspire and bring about a responsible transformation of society. In 1996 he participated to the first edition of Arte all’Arte, a project conceived and organized by Arte Continua (San Gimignano). In 2003 he was awarded the Golden Lion for Career Achievement at the Venice Biennale. In 2004 he received an honorary degree in Political Science from the University of Turin, and announced the most recent phase of his Third Paradise work. In 2007 he received the Wolf Foundation Prize in Arts in Jerusalem “for his constantly inventive career as an artist, educator and activist, whoserestless intelligence has created prescient forms of art that contribute to fresh understanding of the world”. In 2011 he was artistic director of Evento 2011 in Bordeaux. In 2013 he had a solo show at the Louvre, entitled Année 1 – le paradis sur terre, and in the same year received the Praemium Imperiale for painting in Tokyo. In 2014 the symbol of the Third Paradise was installed in the entrance hall of the EU Council headquarters in Brussels during the semester of the Italian presidency. In 2015 he received an honorary degree from the Universidad de las Artes in Havana. In the same year he produced a large-scale work entitled Rebirth, which was placed in the park of the UN’s office in Geneva, the Palace of Nations. In November 2016 he showed at the Museo Nacional de Bellas Artes in Havana, with a major retrospective of his past and present work. Works by Pistoletto are held in the collections of many leading modern and contemporary art museums.
The artist’s official website is: http://http://www.pistoletto.it
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CURATOR: Lorenzo Fiaschi © FotoEstherAttar-Machanek Venice 9 May 2017
Basilica di San Giorgio Maggiore
The San Giorgio monastic community was founded in AD 982, when the Doge Tribuno Memmo gave the island to the Benedictine monk Giovanni Morosini so a monastery dedicated to Saint George could be built there. In 1565 the Benedictine monks asked the famous architect Andrea Palladio to produce the model for a new church. The interior of the church is adorned with splendid sculptures and imposing works of art. The church of San Giorgio became a basilica following pressure from the patriarch of Venice, Giuseppe Sarto (later Pope Pius X), to celebrate the hundredth anniversary of the election of Pope Pius VII.
Abbazia di San Giorgio Maggiore – Benedicti Claustra Onlus arose out of the enterprising spirit and the clear and resolute will of the Benedictine monks to promote and support projects aimed at developing art and furthering artistic inquiry, which have always been privileged channels for evangelization and spiritual growth. The non-profit organization Benedicti Claustra Onlus conduct socially useful activities that involve planning, collaborating on and organizing cultural events. To that end, part of the ground floor of the abbey was converted into an exhibition space and given the name of Officina dell’arte Spirituale, or ‘Workshop of Spiritual Art’ (cfr. RB 4,78).
https://www.abbaziasangiorgio.it
Galleria Continua was founded in San Gimignano in 1990, with the idea of giving birth to a new dialogue between unexpected geographies, creating continuity between ancient and contemporary art, with the aim of feeding the connection between the past and the future. The desire to overcome geographical and cultural boundaries leads Continua to look out at the world, succeeding to exhibit artists from the five continents and to open, in addition to the italian one, headquarters in China, France and Cuba.
https://www.galleriacontinua.com
Associazione Arte Continua was founded in San Gimignano in 1990, with the aim of realizing projects in collaboration with the public administration, projects focused on promoting new models of development and harmony in the fields of culture, production and environmental protection – such as: Arte all’Arte; Arte, Architettura Paesaggio; Rinascimento Nascimento; Arte Pollino – or also charity campaigns as Arte x Vino = Acqua.
https://www.arteallarte.org

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Reenaspaulings

MuseumLudwig

Museum Ludwig
HERE AND NOW / HIER UND JETZT
Reena Spaulings. HER AND NO
Press conference: Friday, 2. June 2017 | 12 p.m.
Opening: Friday, 2. June  2017 | 7 p.m.
Eröff­nung: Fre­i­tag, 2. Ju­ni 2017 | 19 Uhr
Ku­ra­torin: An­na Cz­er­l­itz­ki
Ausstellung: 3. Juni – 27. August 2017
Heinrich-Böll-Platz
50667 Cologne
https://www.museum-ludwig.de

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HERE AND NOW / HIER UND JETZT
Reena Spaulings. HER AND NO
Ausstellung: 3. Juni – 27. August 2017
Who—or what—is Reena Spaulings? Since 2004 the name has stood for various collective artistic activities. Initially Reena Spaulings was the title of a novel written by an undisclosed number of anonymous authors from the circle of the artist collective Bernadette Corporation. Around the same time, a commercial gallery with an exhibition space in New York was founded, which since then has represented artists such as Merlin Carpenter, Jutta Koether, Claire Fontaine, and Klara Lidén. Also in 2004, an artist collective was formed that operates under the name of the fictional artist Reena Spaulings, creating collective paintings that are both reflective of the system and self-deprecating.

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Reena Spaulings, Advisors, Detail 12 (Suzanne Modica), 2016, Acrylfarbe auf Dibond, 86,4 x 66 cm, © Courtesy of the artist, Private Sammlung und Campoli Presti, London/Paris

 

 

 

The exhibition HER AND NO is Reena Spaulings’s first institutional collaboration with a museum. The presentation focuses on the collective’s artistic work. Created especially for this exhibition and including new works, new versions of existing series of works, and existing works that deal with the status of the artist in society in a wider sense, the installation also plays with the format of institutional museum exhibitions.
Three freestanding, large-scale panels made of aluminum are featured in the exhibition. The subject depicted here is an adaptation of Gustave Courbet’s famous painting The Meeting (Bonjour, Monsieur Courbet),in which the painter, during a hike in the countryside far from the urban cultural scene, runs into his patron Alfred Bruyas. Reena Spaulings transposes the scene from 1854, in which Courbet presented himself as a self-confident outdoorsman, into the present. In doing so, she offers a tongue-in-cheek analysis of the painter’s awareness of his role back then as well as today, simultaneously pointing to the delicate balance of dependence within the art world. In the same spirit, the fourteen-piece portrait series Advisors,which portrays famous male and female art consultants, examines their growing significance in the art market. Although since the beginning of modernism artists no longer depend on patrons for commissions—the genre of portraiture can today be understood as a symbol of this kind of relationship—they are still influenced by clearly discernable market and power mechanisms that become apparent in the seemingly autonomous decision to paint the Advisors series.
In addition, new adaptations of the most important series of works by Reena Spaulings can be seen in the exhibition. The painting technique ranges from pointillism in the New York and Cologne pictures, following Oskar Kokoschka’s View of Cologne from the Messeturm (1956), to paintings created by cleaning robots, which possess a surprising vitality and vividness that at first glance is reminiscent of William Turner’s sea pictures. In both series the attempt at a collective painting practice is paramount, a practice that overrides the idea of individual authorship and artistic style.
REENA SPAULINGS: HER AND NO was curated by Anna Czerlitzki. It is the third exhibition within the project series HERE AND NOW at Museum Ludwig, which is an experimental format that critically examines conventions of presenting art in museums and questions the approach of its own institutional work.
The exhibition is supported by funding from the HIER UND JETZT group of members of the Gesellschaft für Moderne Kunst am Museum Ludwig e.V. and the Stiftung Storch.
An exhibition catalogue will be published.
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Museum Ludwig
HERE AND NOW / HIER UND JETZT
Reena Spaulings. HER AND NO
June 3 – August 27, 2017

Führung:
04.06.2017 | 16 Uhr
11.06.2017 | 16 Uhr
18.06.2017 | 16 Uhr
25.06.2017 | 16 Uhr
02.07.2017 | 16 Uhr
3. Juni – 27. August 2017
Heinrich-Böll-Platz
50667 Cologne
https://www.museum-ludwig.de
http://www.museum-ludwig.de/…/hier-und-jetzt-im-museum-ludw…

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Bring Art into Life

MuseumLudwig
Museum Ludwig
Bring Art into Life!
The Collector Wolfgang Hahn and the ’60s
Press conference:
Thursday, 22. June 2017 | 11 a.m.
Opening: Friday, 23. June 2017 | 7 p.m.
curated by Barbara Engelbach
Exhibition: 24. June – 24. September 2017
Heinrich-Böll-Platz
50667 Cologne
https://www.museum-ludwig.de
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George Brecht The Book of the Tumbler on Fire, Volume I, Chapter VIII,
Page 3, Footnote 19, 1969 © VG Bild-Kunst, Bonn 2017
Photo: mumok, Museum moderner Kunst Stiftung Ludwig Wien, Former Collection Hahn, Cologne
Bring Art into Life!
The Collector Wolfgang Hahn and the ’60s
 24. June – 24. September 2017
In the 1960s, the Rhineland was an important center for a revolutionary occurrence in art: a new generation of artists with international networks rebelled against traditional art. They used everyday life as their source of inspiration and everyday objects as their material. They went out into their urban surroundings, challenging the limits of the art disciplines and collaborating with musicians, writers, filmmakers, and dancers. In touch with the latest trends of this exciting period, the Cologne painting restorer Wolfgang Hahn (1924–1987) began acquiring this new art and created a multifaceted collection of works of Nouveau Réalisme, Fluxus, Happening, Pop Art, and Conceptual Art.
Wolfgang Hahn was head of the conservation department at Wallraf-Richartz-Museum and Museum Ludwig. This perspective influenced his view of contemporary art. He realized that the new art from around 1960 was quintessentially processual and performative, and from the very beginning he visited the events of new music, Fluxus actions, and Happenings. He initiated works such as Daniel Spoerri’s Hahns Abendmahl (Hahn’s Supper) of 1964, implemented Lawrence Weiner’s concept A SQUARE REMOVAL FROM A RUG IN USE of 1969 in his living room, and not only bought concepts and scores from artists, but also video works and 16mm films.
On the other hand, he encountered contemporary art with a keen sense of history. As a witness of “action” events and Happenings, he documented what he saw by conducting artist interviews to learn more about the creation of the works and their artistic position; he also purposefully collected works and documents from specific Happening contexts. This is how he came into the possession of a great number of objects from Nam June Paik’s legendary exhibition Exposition of Music: Electronic Television of 1963.
The Hahn Collection was acquired by the Republic of Austria in 1978 and completed with other acquisitions in 2003. It is part of mumok—Museum moderner Kunst Stiftung Ludwig Wien in Vienna.
The exhibition at Museum Ludwig and mumok considers the Hahn Collection for the first time as a self-contained time capsule that offers a fresh look at the art of the 1960s and ’70s beyond art-historical or geographical categories.
The Artists
Anouj, Arman, Ay-O, Joseph Beuys, George Brecht, Michael Buthe, John Cage, John Chamberlain, Christo, Bruce Conner, Philip Corner, Merce Cunningham, Gérard Deschamps, Jim Dine, François Dufrêne, Öyvind Fahlström, Robert Filliou, Sam Gilliam, Ludwig Gosewitz, Nancy Graves, Raymond Hains, Al Hansen, Dick Higgins, Allan Kaprow / Kasia Fudakowski, Alison Knowles, Arthur Køpcke, Gary Kuehn, Yayoi Kusama, Barry Le Va, Boris Lurie, Gordon Matta-Clark, Claes Oldenburg, Yoko Ono, Nam June Paik, Lil Picard, Klaus Rinke, Mimmo Rotella, Dieter Roth, Niki de Saint Phalle, Günter Saree, George Segal, Daniel Spoerri, Paul Thek, Jean Tinguely, Ursula, Franz Erhard Walther, Robert Watts, Lawrence Weiner, H. C. Westermann, Stefan Wewerka, Jacques de la Villeglé, Wolf Vostell, and Gil J. Wolman.
Kasia Fudakowski was invited to reinvent Push and Pull, 1963, by Allan Kaprow. She will present Push and Pull—Reinvented as a new work.
An exhibition of Museum Ludwig in cooperation with mumok—Museum moderner Kunst Stiftung Ludwig Wien, curated by Barbara Engelbach (Museum Ludwig) and Susanne Neuburger (mumok). The exhibition at Museum Ludwig was curated by Barbara Engelbach.
The exhibition will be on view at mumok in Vienna starting November 10, 2017.
An exhibition catalogue will be published by Verlag der Buchhandlung Walther König. The essays are by Barbara Engelbach, Susanne Neuburger, and Susanne Rennert. In addition, there is a representative selection of works that are accompanied by texts. The authors are Ágnes Berecz, J. P. Binstock, Lisa Bosbach, Stephan Diederich, Diedrich Diederichsen, Marianne Dobner, Silvia Eiblmayr, Barbara Engelbach, Ines Gebetsroither, Barbara Herrmann, Dirk Hildebrandt, Matthias Koddenberg, Doris Krystof, Annette Lagler, Dirk Luckow, Simone Moser, Susanne Neubauer, Susanne Neuburger, Marlene Obermayer, Sandra Reimann, Dietmar Rübel, Feliticas Thun-Hohenstein, Ulrich Wilmes, Jörg Wolfert, and Michael Wonnerth-Magnusson.
The exhibition received generous support from the Peter und Irene Ludwig Stiftung, the Kunststiftung NRW, and the Landschaftsverband Rheinland.
George Brecht
The Book of the Tumbler on Fire, Volume I, Chapter VIII, Page 3, Footnote 19, 1969
© VG Bild-Kunst, Bonn 2017
Photo: mumok, Museum moderner Kunst Stiftung Ludwig Wien, Former Collection Hahn, Cologne

 

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TIME-BASEDMEDIA

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HeK – Haus der elektronischen Künste Basel
TRANSFER
A SERIES OF TIME-BASED MEDIA ARTWORKS f
Art Basel Reception
Evening Reception Event
Tuesday, 13. June 2017 | 4-8 pm
Dienstag, 13. Juni 2017 | 16 – 20H
TRANSFER Director, Kelani Nichole
Freilager-Platz 9, 4142 Münchenstein
Basel CH
 
 
 
A SERIES OF TIME-BASED MEDIA ARTWORKS from artists testing new formats for artmaking makes it’s European debut during Art Basel 2017 – The ‘TRANSFER Download’ presents custom three-channel solo presentations as part of ‘Unreal. The Algorithmic Present’ at the Haus der elektronischen Künste in Basel:
 
A dozen artworks are installed in one hyperspace, creating a layered salon-style exhibition format which debuted last year at the Minnesota Street Project in San Francisco and exhibited again at The Current Museum of Art in NYC. The immersive installation space rotates to feature a single work at a time – formats include algorithmic video, time-based narrative, generative 3D/VR, web-based work, GIFs, and other moving image.
 
The TRANSFER Download features a selection of new and existing works spanning themes of technology and the body, architectural space reimagined through moving images, and urban/glitch landscapes.
TRANSFER Director, Kelani Nichole
 
“This immersive installation invites visitors to get intimate with new formats – the TRANSFER Download creates a unique environment for viewing artworks. Featuring transitory media, ranging from VR to algorithmic video to web-based works. My selection of works represents artists pushing new formats for artmaking, and speculates on the bifurcation of scarcity and authenticity in contemporary art.”
 
FEATURED ARTISTS
AES+F, LaTurbo Avedon, Claudia Hart, Rollin Leonard, Rosa Menkman, Lorna Mills, Harvey Moon, Eva Papamargariti, Sabrina Ratte, Rick Silva and Nicolas Sassoon, Phillip David Stearns, Daniel Temkin
 
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AES+F – ‘Last Riot’
The heroes of the new epoch have only one identity, that of participants in the last riot. Each fights both self and the other, there’s no longer any difference between victim and aggressor, male and female. This world celebrates the end of ideology, history and ethics.
(2005-2007, HD Video, 3-Channel Trailer)
 
 
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CLAUDIA HART – ‘Empire’
Hart surrounds the viewer with a continuous animation of a virtual monument that slowly decays, rotting as it transits from sunrise to sunset.
(2010, 4-Channel 3D Animation with Music by Ella Joyce Buckley)
 
 
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SABRINA RATTE – ‘Plaza Concrète’
Mixing analog and digital technologies, ‘Plaza Concrète’ is a series of hallways generated by electronic signals. Unfolding inside melting architectures, the space depicted is reminiscent of the malleable nature of the video image and manifests the tension between matter and electricity through constant shifts of perspectives.
(2016, 3-Channel Video with Audio by Roger Tellier-Craig)
 
 
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ROSA MENKMAN – ‘DCT: Syphoning’
Inspired by ‘Flatland’, Menkman tells the story of a father who introduces his son to different levels of compression; they move from dither, to lines, to macroblocks (the realm in which they normally resonate) to the ‘future’ realms of wavelets and vectors.
(2016, 3D Video teaser of her VR Installation at DiMoDA)
 
 
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DANIEL TEMKIN – ‘Stripe Modulator’
Temkin’s open-source ‘Stripe Modulator’ is a tiny algorithm generating an immersive field of color bands. These stripes drift and bend collectively within each color channel according to simple rules, creating retinally-stunning perceptual effects as they interact with stripes of other hues across the visual space.
(2016, Video Composition from Algorithmic Website online at http://danieltemkin.com/StripeModulator)
 
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PHILLIP DAVID STEARNS – ‘Polar Visions 002’
Stearns reconstructs a sunset from its representation as a digital still; an exercise in reformulating machinic experience for humans.
(2016, 3-Channel HD 1080p30 Video with LFE Audio Track)
 
 
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RICK SILVA & NICOLAS SASSOON – ‘SIGNALS’
Based in the Pacific Northwest, Silva and Sassoon reflect upon their relationship to their natural surrounding by bringing to light a simulated ecological ruin as a gesture of contemplation towards an environment subject to perpetual human alteration.
(2016, Single-Channel HD Video with Audio)
 
 
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ROLLIN LEONARD – ‘Spinning Pinwheel of Death’
Leonard’s looped self portrait emulates a digital distortion – without employing any post-production effects – by using water as optics. His photographs are taken through drops of water, each droplet acts as a flexible, temporary lens.
(2015-16, Vertical 2-Channel 4k Looped Moving Image)
 
 
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LATURBO AVEDON – ‘ID’
A poetic visualization of the creation of personal metadata, for the identification of a digital self – born from code. In ‘ID’ LaTurbo addresses how social media platforms have continued to move toward the creation of authenticators adding real name policies and hungry terms of service to access to personal information.
(2015, Single Channel Video with Audio)
 
 
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EVA PAPAMARGARITI – ‘Prosomiosis’
Papamargariti’s 3D rendered animated scenes create a fictitious digital environment inspired by geometries and patterns found in the natural world, re-constructed and re-presented as fragments of a virtual ecosystem manifesting itself through objects, shapes and motion.
(2015, Single Channel Video with Audio)
 
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HARVEY MOON – ‘Time Objects’
Moon algorithmically bends video in-between pixels to reveal a multidimensional experience. Time and space fold as new realities are exposed; only accessible through machine aided vision.
(2016, 3-Channel Video with Audio)
 
 
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LORNA MILLS – ‘Wnrwnrchickndnr’
Mills takes us along on a romp of cross-species love that ends all too badly. With elements culled from a variety of online sources, her moving image collages are in a state of constant oscillation; the particular and peculiar rapidly expanding to universals and then, just a quickly, contracting right back again.
(2016, 3-Channel Video from Animated GIF Collages)
 
 
Haus der elektronischen Künste Basel
June 6 – August 20th, 2017
free warehouse-Platz 9
4142 Münchenstein / Basel CH
Open Wednesday-Sunday 12: 00-18: 00 and by appointment
 
 
Open Wednesday-Sunday 12: 00-18: 00
and by appointment

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If you want to announce your event in
EstherArtNewsletter please fill out the form.
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