Tate St Ives
10 February – 29 April 2018
Porthmeor Beach
St Ives Cornwall TR26 1TG



10 February – 29 April 2018
Pallant House Gallery, Chichester
26 May – 16 September 2018
Fitzwilliam Museum, Cambridge
2 October – 9 December 2018




This exhibition was made possible with a Jonathan Ruffer Curatorial Research Grant from Art Fund. Supported by Czech Centre London, with additional support from the Virginia Woolf Exhibition Supporters Circle, Tate Members and Tate St Ives Members

This exhibition of work by over 80 artists from the past 160 years takes inspiration from the work of British modernist writer Virginia Woolf. Including works by British and international artists ranging from 1854 to contemporary commissions, the selection of paintings, sculptures, photographs, text works and films evoke the recurring themes in Woolf’s writing.
The exhibition is loosely structured in two parts, looking at feminist perspectives on, and approaches to: landscape, exteriority and public life; and domesticity, the home and interiority. Woolf’s relationship to feminism, women’s creativity, domesticity and landscape was bound up with her idea to revolutionise the languages of biography and history and to find new forms for representing women’s creative lives and histories – both in the home and in the public domain.
The first section of the exhibition explores ideas around landscape, nature and its representation. Works include the South West landscapes of Laura Knight, Gluck, Frances Hodgkins, Winfred Nicholson and Dora Carrington as well as pieces by Nancy Holt, Louise Bourgeois, Mária Bartuszová and Patricia Johanson. Alongside this are paintings, photographs and sculptures that consider the performance of identity and gender in public, by artists such as Romaine Brooks, Claude Cahun, Birgit Jürgenssen, Linder, Gwen John, Alina Szapocnikow, Eileen Agar, France-Lise McGurn, Penny Goring, Zanele Muholi, Hannah Black and Clare Atwood, who present portraits and self-portraits of known or unknown individuals.
The second part of the exhibition considers the genre of the still life and looks at the home – or ‘room of one’s own’ as a contested site for both creative freedom and social isolation. Here works by Vanessa Bell, Margaret Mellis, Marion Dorn, Enid Marx, Anna Atkins, Shana Lutker, Sara Barker, Nicola L, Caragh Thuring and Eve Fowler, will be shown alongside artists who are interested in the sub-conscious, intimacy and the psyche, such as Ithell Colquhoun, Georgiana Houghton, Joan Mitchell, Toyen, Agnes Martin, Sandra Blow, Emmy Bridgwater, Grace Palithorpe, Penny Slinger, Lucy Stein and Issy Wood.
Virginia Woolf spent her childhood summers in St Ives, Cornwall and returned as an adult, taking inspiration from the town to create her celebrated novel To the Lighthouse – the namesake for which is visible from Tate St Ives. This major exhibition has been organised by Tate St Ives in association with Pallant House Gallery, Chichester and The Fitzwilliam Museum, Cambridge.



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OPENING: 16 December 2017 | 14:30 – 18:30pm
Discussion: 14:30 – 16:30 pm
Performance @ 16:40 – 18:10 pm
Mariana Hahn, Stored-Story Body-Archive
Artists:Aaajiao, Amir Fattal, Law Yuk-mui, Mariana Hahn, Miao Ying, Zijie
Academic Director: Dong Bingfeng
Curator: Rachel Rits-Volloch
Dong Bingfeng, Curator and Research Fellow,
School of Inter-media Art, China Academy of Art, Beijing;
Rachel Rits-Volloch, Founding Director of MOMENTUM;
ARTISTS: Aaajiao, Mariana Hahn, Zijie
MODERATOR: Vivienne Chow, Journalist,
Critic and Founder of Cultural Journalism Campus
EXHIBITION: 17 December 2017 – 7 May 2018
No. 128, Yuancun Si Heng Rd., Tianhe District, Guangzhou




Redtory Museum of Contemporary Art
Guangzhou, China
In collaboration with:MOMENTUM / Germany Consulate in Guangzhou

Future Life Handbook. We would all like to have one of these – a guide on how to keep going in troubling times. As information moves faster and faster, in our race to keep up with it, we are often too busy with the now to look to the future. As the struggle continues between preserving history and rewriting it to fit a new script, it is also becoming ever harder to tell the difference between real and fake news. And, if both our past and our present are continuously reimagined, how are we to forecast our futures? Universal to all of us living in these mediated times, the ubiquity of such issues brings us much closer together. Artists ‘speaking’ through the autonomous voices of visual languages, translate the world to us in different, unbounded ways. This exhibition brings together the work of six young artists and two curators from China and Berlin. It is designed as a dialogue, as an exchange and elaboration of different perspectives that reflect upon our current moment through a study of the past and a view towards the future.




Berlin: a city of only 3.5 million people has become known internationally as the ‘Art Capital of Europe.’ For almost 30 years it has attracted artists from around the world who, feeding on and into its creative energy, have made it their adoptive home. Berlin is a city where everyone always seems to be from elsewhere; it is still rebuilding and repopulating itself 70 years after the disaster of World War II; it seems to be a place perpetually atoning for its painful and violent history and it is now re-inventing itself through culture.
Guangzhou: a city with a population of over 14 million in the heart of the Pearl River Delta, has historically been a fount of new and radical ideas about art and culture as well as China’s southern gateway to the rest of the world. As it has developed over the past 40 years it has become not only an economic and cultural powerhouse emblematic of change in China but also has turned its face again outwards.
In bringing to RMCA three young Berlin-based artists from different countries with three Chinese artists we are again opening that gateway to let the voices of today’s generation speak about the issues common to our experience, despite the diversity of our backgrounds.

The Redtory Museum of Contemporary Art (RMCA) is a private, non-profit Contemporary Art Museum that initiates and organizes exhibitions of art, architecture, design, film, photography and video from both China and overseas. With a growing collection of contemporary art, it also promotes academic research, organizes artists’ residencies and public programs for schools, universities and adult education, and facilitates exchanges of art, artists and exhibitions internationally.

RMCA is comprised of a group of buildings located at the heart of the Guangzhou Redtory Art and Design Factory District. This former industrial area, situated by the Zhujiang River in the centre of the city, has been repurposed for cultural and leisure use and covers 170,000 square metres with over 100 different structures.




Made up of factories, sheds, offices and warehouses designed by Russian architects at the beginning of the 1950s, the planning, architecture and still extant machinery expresses the industrial idealism of the 20th century. The outer surface of the main museum building (Hall 1) has since been clad in rough corten steel to emphasise its monumentality and historical significance.

The exhibition spaces of RMCA cover a total area of over 4,000 m2 spread across six separate buildings. Halls 1 & 2 are over seven meters high, while the other spaces are more intimate. A workshop space for the Young Artists Programme has just been converted to supplement this. These resources give flexibility for planning many different kinds of exhibitions, performances and events.
It is only since the end of the 1970s that contemporary art has become established in China. First, in the mid-1980s, it was characterized by ‘The New Wave’ then, in the 1990s and after, by ‘New Cynicism’ and ‘Experimental Art,’ but the challenges facing art today demand a radically different approach.

Global flows of capital, and the burgeoning of transnational networks and social media have brought together, and transformed, art’s cultural and political context. A new generation of artists in China, and elsewhere, is facing, and digesting, the effects of this transformation.

This has made an impact on how art is made and thought about. Increasingly, art works adopt the form and discipline of archives as they confront memory and the past from different contemporary points of view, and even the conventions and boundaries of the art exhibition itself are gradually being eroded as art and life interpenetrate in new, unexpected ways.

For the art of today, museums take on the role more of workshops or laboratories as the concerns of artists, curators, designers, architects, intellectuals and the public begin to converge. The aim of the RMCA Young Artists Programme is to provide through exhibitions, residencies and its public activities an ever-broadening platform for this process to take place.



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Vereinigung bildender KunstlerInnen Wiener Secession
Friedrichstraße 12, A-1010 Wien

Secession Hauptraum
Rudolf Polanszky: Eidola
Donnerstag, 8. Februar 2018 | 10 Uhr
Eröffnung: Donnerstag, 8. Februar 2018 | 19 Uhr
9. Februar – 22. April 2018





Secession Grafisches Kabinett
Haris Epaminonda
Donnerstag, 8. Februar 2018 | 10 Uhr
Donnerstag, 8. Februar 2018 | 19 Uhr
9. Februar – 2. April 2018




Haris Epaminonda, Ausstellungsansicht von Chapter IV,
Fondazione Querini Stampalia, Venedig, 2014



Haris Epaminondas Werk ist weder im strengen Sinne minimalistisch noch durchaus konzeptuell. Im Mittelpunkt ihrer Herangehensweise steht die Wandelbarkeit von Bildern – und im Kern auch die von Symbolen. Sie arbeitet mit Installationen, Skulpturen, Filmen, gefundenen Bildern, Büchern und Collagen; ihr Formenvokabular, das sie in ihren ersten Ausstellungen in den Nullerjahren herausbildete, beschränkt sich auf eine vergleichsweise kleine Zahl von Objekten, darunter metallische Gebilde (Säulensockel, Rahmen, Vitrinen), Blattgold, auf dem Boden oder an der Wand angebrachte Bruchstücke aus Pastellone (einer Mischung aus gemahlenem Marmor und Kalk), exotische Artefakte (Vasen, Skulpturen, Miniatur-Architekturelemente), den Raum gliedernde Postamente und Podeste, und Collagen aus neu montierten und gerahmten gefundenen Seiten. Oft sind Lebewesen – Pflanzen, Tiere, Menschen – Bestandteil von Epaminondas Installationen, von denen eine eigene ritualistische Anmutung ausgeht, vielleicht eine bestimmte eindringliche Form des Sakralen. Wie Gemälde, die ihrer farbigen Ausführung harren, tragen sie potenzielle Einschreibungen in sich, die Ansatzpunkte zukünftiger Neuinterpretationen einer Geschichte, deren Schlüssel oder Sinn die Künstlerin bewusst durchgestrichen hat.

Haris Epaminonda, geboren 1980 in Nikosia (Zypern), lebt und arbeitet in Berlin.



Rudolf Polanszky – Eidola
9. Februar – 22. April 2018
Rudolf Polanszky hat seit Mitte der 1970er-Jahre ein vielschichtiges Werk geschaffen, das von konzeptuellen Film-, Video- und Fotoarbeiten über Zeichnung und Malerei bis zu skulpturalen Objekten und Assemblagen reicht. Sein Werk ist geprägt durch die beabsichtigte und durchaus methodische Einbindung des Zufälligen. Eine besondere Rolle spielt dabei die Verwendung von Materialien, die Gebrauchsspuren aufweisen oder der Witterung ausgesetzt waren, da sie gewissermaßen die Aufgabe der Kontrolle über die Formgebung und die Unterwanderung des künstlerisch-konstruktiven Gestaltungswillens fördern. Die Faszination für wissenschaftliche Erklärungsmodelle gepaart mit der Skepsis gegenüber einer vermeintlich unerschütterlichen Logik, die Welt zu begreifen, haben den Künstler selbst diverse Verstehensschemata entwickeln lassen. Diese folgen der Nicht-Sinnstiftung als Leitidee und nehmen in intuitiv konstruierten Objekten Gestalt an, die er als provisorische Verkörperungen gedanklich-sprachlicher Gebilde versteht. Polanszkys Interesse für Schein- und Trugbilder ist folglich groß. Dem Prinzip der Festlegung setzt er eine Art „hypothetische Einstweiligkeit“ entgegen, die die Veränderlichkeit von Strukturen ins Bewusstsein rufen soll.
Schon in frühen Super-8-Filmen wie Die Semiologie der Sinne (1976) und Der musikalische Affe (1979) thematisierte Polanszky Fragen von Erkennen/Erkenntnis, Täuschung und Illusion. Er experimentiert mit dem filmischen Aufbau, dekonstruiert ihn mit verschiedenen Versuchsanordnungen und manipuliert so seine Wahrnehmung. In seinen Sprungfedernzeichnungen und Sitzbildern, die Mitte der 1980er-Jahre entstanden, spielt die Geste des Zufälligen und Unkontrollierten sowohl in der Konzeption als bei der Gestaltung eine wichtige Rolle. Seit Mitte der 1990er-Jahre arbeitet Polanszky vornehmlich mit Materialien wie Plexiglas, Metall und Schaumstoff – in der Vorstellung des Künstlers „freie“, d.h. von ihrem ursprünglichen Zweck oder vorgesehenen Nutzen befreite Materialien. Mittels Überlagerung, Schichtung, Überschneidung, Verschachtelung oder Faltung erzeugt er daraus Wandobjekte und raumgreifende Skulpturen. Dieses non-lineare Verfahren des spontanen Zusammenfügens vorhandener Materialien und zufälliger Formen zu einer neuen Struktur bezeichnet der Künstler als „Ad-hoc-Synthese“. Diese vom Künstler bevorzugte Arbeitsmethode dient der Erschaffung von Modellen für „translineare“ bzw. „transaggregate“ Strukturen. In der Weiterentwicklung seiner Idee der translinearen Verfahren beschäftigt sich Polanszky in jüngster Zeit mit „Prim-Räumen“ in freien räumlich-skulpturalen Umsetzungen ansonsten linear wiedergegebener Primzahlen-Reihen sowie mit deren Pendants, den sogenannten „Negativräumen“.

Die Einzelausstellung Rudolf Polanszkys wird eine Auswahl an skulpturalen Werken und Wandarbeiten aus unterschiedlichen Werkgruppen präsentieren und damit einen Einblick in die Theorien des freigeistigen Künstlers bieten, die allesamt mit der Unbeständigkeit der Behauptung spielen – von den bereits genannten Prim-Räumen über hyperbolische Räume, Faltungen und Schleifen hin zu Konfusionsspiegelungen und Negativ-Positiv-Strukturen. Zeitgleich zur Ausstellung veröffentlicht Polanszky außerdem ein Künstlerbuch. Darin sind ausgewählte Schriften des Künstlers in Form von Faksimiles und Transkriptionen versammelt, die er aus der Sicht der Gegenwart einer kritischen Befragung unterzieht.

Rudolf Polanszky, geboren 1951 in Wien
lebt und arbeitet in Wien.



Hauptraum, Galerie, Grafisches Kabinett
Donnerstag, 28. Juni 2018 | 10 Uhr
Eröffnung: Donnerstag, 28. Juni 2018 | 19 Uhr
kuratiert von Anthony Huberman
29. Juli – 2. September 2018


Anthea Hamilton, Hauptraum
Anne Speier, Galerie
James Richards & Leslie Thornton, Grafisches Kabinett
Anfang September – Anfang November 2018


Ed Ruscha, Hauptraum
Philipp Timischl, Galerie
Kris Lemsalu, Grafisches Kabinett
Mitte November 2018 – 30 Jänner 2019


Ständige Präsentation: Gustav Klimt – Der Beethovenfries (1902)
Gustav Klimt gestaltete den berühmten Beethovenfries für die XIV. Ausstellung der Vereinigung Bildender Künstler Österreichs Secession, die vom 15. April bis 27. Juni 1902 stattfand. In dieser Ausstellung – als Hommage an den Komponisten Ludwig van Beethoven konzipiert – erfuhr die Idee des secessionistischen Gesamtkunstwerks ihre Umsetzung.

Die Sanierung der Secession findet bei laufendem Ausstellungsbetrieb statt. Aus technischen Gründen ist es jedoch notwendig, Teilbereiche zeitversetzt zu schließen.
Der Beethovenfries ist  vom Montag, den 26. Februar bis einschließlich Sonntag, den 9. März NICHT zu sehen.


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group exhibition
Opening: Friday, 15. Dezember 2017 | 6 pm
Carlos AIRES, FARKAS Dénes, Vadim FISHKIN,
Radenko MILAK & Roman URANJEK,
Curator: Annamária Molnár
Opening speech: Attila Horányi, art-historian, MOME
Exhibition: 16. Dezember 2017- 27 January 2018
36. Bródy Sándor street, Budapest, 8th district



unnamed (1)

Radenko MILAK & Roman URANJEK
1980, Travnik, Bosnia and Herzegovina (former YU)
(lives and works in Banja Luka, Bosnia and Herzegovina)
1961, Trbovlje, Slovenia (former YU)  (lives and works in Ljubljana, Slovenia)




The Ani Molnár Gallery inaugurates its new Budapest location with the opening of a group show entitled Issues of Uncertainty. Annamária Molnár, curator of the exhibition, built and centred the show around this theme by inviting artists mainly from the CEE region. Issues of Uncertainty will present chiefly conceptual artworks that use different media and illustrate several variations of uncertainty. For example: uncertainty of the past and its relation to the past are just as present as the uncertainty of avant-garde signs and their belief-systems. Or the uncertainty of the cross’ symbolic meaning of religion or profanity, the uncertainty of identity and its questionable preservation, the uncertainty of social principles and values; and even in a broader sense, the uncertainty of symbols like the alliance of images and text — or simply the uncertainty of what’s up and down.




Carlos AIRES | 1974, Malaga, Spain
lives and works in Madrid, Spain



Among the mostly foreign exhibiting artists, we can find a founding member of the IRWIN group, Roman URANJEK, who collaborates with his compatriot ex-Yugoslavian Radenko MILAK to create a project called Dates. Together they combine Uranjek’s series, At Least One Cross A Day After 1.1.2002 and Milak’s 365 Images of Time, turning the artworks into peculiar and constantly shifting diptychs, hovering between stories and histories. Spaniard Carlos AIRES shows works from his Disasters series: these collages take certain nations’ banknotes, altering them with a relevant cut-out of a photo, thus transmitting a strong political message. London-based Croatian artist Tina GVEROVIĆ’s four-pieced drawing series, entitled Soft Touch – Makings of Europe depicts the shaping of continents and the accidental nature of our borders. Ljubljana-based Russian Vadim FISHKIN’s giant vine-like folding-ruler, from which the cloth pegs stick out like countless thorns, reaches up to the sky. Such details from this artwork from 1994, Count up, Count down immortalize the unknown aim of the set of measurements. The picturesque beauty of Hong Kong resident Tamás WALICZKY’s animation, Marionettes, shows collapsing humans with animal and plant heads, the predictable falling down of the figurines accompanied by a subtle rhythm, but the questions ‘why them?’ and ‘why must they perish that way?’ remain unanswered. Dénes FARKAS, who lives in Tallinn, offers his “of places no longer being separated” series, which works between the crosstalk and tension of spaces, images and texts, expressing the almost existentialist uncertainties of perception, knowledge and presence. Péter FORGÁCS’ video work, entitled Zsófia Bán Poison, visualizes the novel by condensing a segment of Katalin Karádi’s make-believe, fictional life in São Paolo. The author is sitting in backlight, reading her own texts, while Forgács’ homemade videos of Bán’s father and highlighted excerpts of texts veil her, strengthening the base-narrative of the late diva’s identity crisis related to emigration.
Attila Horányi, art-historian, MOME


Dénes FARKAS  1974, Budapest, Hungary
(lives and works in Tallinn, Estonia)



The artists whose works are featured in this group show at the Ani Molnár Gallery are all internationally acclaimed, and have exhibited at top institutes and Biennales. At the 2017 Venice Biennale the works of Tina GVEROVIĆ, Radenko MILAK, Roman URANJEK and Vadim FISHKIN (who is represented by Gallery Podnar, Berlin) were shown. It was Fishkin’s fourth participation at that event. Dénes FARKAS represented Estonia at the Venice Biennale in 2013, and Péter FORGÁCS in 2009 exhibited at the Hungarian Pavilion. Carlos AIRES has shown at the Bucharest Biennale, while Tamás WALICZKY at the Lyon and Seville Biennale. Issues of Uncertainty promises to be an exemplary event in the gallery’s dynamic programme, and an exceptional addition to the local art scene.

Vadim FISHKIN  1965, Penza, Russia (former USSR)
(lives and works in Ljubljana, Slovenia)
Péter FORGÁCS  1950, Budapest, Hungary
(lives and works in Budapest, Hungary)
Tina GVEROVIĆ  1975, Zagreb, Croatia (former YU)
(lives and works in London, UK)
Tamás WALICZKY  1959, Budapest, Hungary
(lives and works in Hong Kong)




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Ausstellungsprogramm 2018
Untere Weißgerberstraße 13
1030 Wien


Oliver Ressler – How to Occupy a Shipwreck
Eröffnung: Mittwoch, 24.01.2018
„Everything is coming together while everything is falling apart“
Film 25. Februar 2018
25.01.2018 – 02.04.2018
Untere Weißgerberstraße 13, 1030 Wien



Oliver Ressler Everythings coming together Code Rood 20


Oliver Ressler – How to Occupy a Shipwreck
25. Jänner – 02. April 2018, Garage
Für seine Arbeiten nimmt der Künstler, Aktivist und Filmemacher Oliver Ressler (*1970) gesellschaftspolitisch wichtige Themen und Ereignisse zum Ausgangspunkt: In seiner jüngsten Filmserie „Everything is coming together while everything is falling apart“ setzt er sich unter anderem mit den ProtagonistInnen der Demonstrationen rund um die 21. UN-Klimakonferenz in Paris im Dezember 2015 auseinander. Der Film feiert am 25. Februar im Kunst Haus Wien seine Uraufführung und wird mit drei weiteren Arbeiten der Serie bis 2. April 2018 gezeigt.



Elina Brotherus – It’s Not Me, It’s A Photograph
15. März 2018 – 2. September 2018
Die erste Großausstellung ist der finnischen Künstlerin Elina Brotherus (*1972) gewidmet, die mit einer umfangreichen Mid-Career-Ausstellung einem breiten Publikum vorgestellt wird. Die in Frankreich und Finnland lebende Foto- und Videokünstlerin verbindet in ihren Arbeiten Mensch und Natur, Innenwelt und Außenwelt und schafft es seit nunmehr 20 Jahren elementare Themen wie Liebe, Tod, Vergänglichkeit, Heimat, Einsamkeit oder Verlust auf feinsinnige, oft auch humorvolle oder tragisch-komische Art und Weise in fotografischen Bilderserien festzuhalten. Auch ihre jüngsten Arbeiten, mit denen Brotherus neue Wege einschlägt und die diesen Oktober im Centre Pompidou in Paris präsentiert wurden, werden in Wien gezeigt. Speziell für die Ausstellung entstehen Arbeiten, in denen sich die Künstlerin auf Werke von VALIE EXPORT, Erwin Wurm und anderen österreichischen KünstlerInnen bezieht. Brotherus, die ihren internationalen Durchbruch Anfang der 90er-Jahre in Helsinki schaffte, zählt bereits jetzt zu den wichtigsten Fotokünstlerinnen ihrer Generation.



DerWanderer 3, 2004 (c) Elina Brotherus – Courtesy gbagency


Stillleben in der Fotografie der Gegenwart
13. September 2018 – 17. Februar 2019
Stillleben in der Fotografie der Gegenwart lautet der Titel der zweiten großen Fotografieausstellung des Museums, die sich von 13. September 2018 – 17. Februar 2019 dem Genre des Stilllebens in der Fotografie widmen wird. Vor allem in einer jüngeren KünstlerInnengeneration ist die Objekt- und Studiofotografie wieder en vogue, die direkt an das historische Genre der Stillleben anknüpft. Die Arbeiten dieser FotografInnen weisen formal auf spezifische historische Bildtraditionen hin und zeugen von der Gegenwart einer zuweilen exzentrischen Dingwelt. Die Bilder funktionieren auch als eine Art Gegenraum zum Netz, indem sie das Sehen verlangsamen und eine enorme Präsenz in der Gegenwart entfalten, die nicht zuletzt einer großteils ausgeprägten handwerklichen Präzision geschuldet ist. Neben Arbeiten von Tacita Dean (GB), David Hockney (GB), Wolfgang Tillmans (D), Sharon Lockhart (US), Hans-Peter Feldmann (DE), Harun Farocki (DE) oder James Welling (USA) sind österreichische Positionen wie jene von Lisa Holzer, Anja Manfredi, Ingeborg Strobl, Matthias Herrmann oder Manuel Gorkiewicz zu sehen.


RESANITA – Das Haus als Wirt
21. Juni – 07. Oktober 2018, Garage
Das österreichische Künstlerinnenduo Resanita (seit 2003, Resa Pernthaller und Anita Fuchs) beschäftigt sich mit temporären Eingriffen in den urbanen Raum, mit nomadischen, kollektiven Prozessen. Seit Herbst 2017 arbeitet Resanita an der künstlerischen Bestandsaufnahme der Fauna und Flora des Kunst Haus Wien, die Ergebnisse sind unter dem Titel „Das Haus als Wirt“ von 21. Juni – 7. Oktober 2018 zu sehen.

Rainer Prohaska
24. Mai – 14. Oktober 2018, Innenhof
Die künstlerische Arbeit von Rainer Prohaska (*1966) ist zwischen Architektur und Performance angesiedelt. Ihn interessiert, wie sich soziale Gefüge und gesellschaftliche Zusammenhänge in Architektur und Raum manifestieren. Für das Kunst Haus Wien erarbeitet Prohaska Ideen zur Erschließung des Donaukanals vom Innenhof des Museums aus und kreiert räumliche Eingriffe und begehbare Plattformen im Hof.

Jochen Lempert
12. April – 10. Juni 2018, Garage
Zwischen Fotografie- und Wissenschaftsgeschichte sind die meist schwarzweißen, rahmenlosen Arbeiten des in Hamburg lebenden Jochen Lempert (*1958) angesiedelt. Seit mehr als 25 Jahren untersucht er mittels der Fotografie – und parallel zu einer fortgesetzten Arbeit als Biologe – die wechselseitigen Beeinflussungen menschlicher, tierischer, pflanzlicher und mikroorganischer Lebensformen und die Möglichkeiten, diese abzubilden.

Kunst Haus Wien




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Museum Ludwig
upcoming exhibitions in 2018.

Museum Ludwig
Günter Peter Straschek Emigration – Film – Politics
Press conference: Friday, March 2, 2018, 11 a.m.,
press preview starting at 10 a.m.
Opening: Friday, March 2, 2018 | 7 p.m.
Curator: Julia Friedrich
Exhibition: March 3 – July 1, 2018
Heinrich-Böll-Platz, 50667 Cologne

One of the most impressive documentary films in the history of German television languished in the archives of the WDR for decades: Günter Peter Straschek’s 1975 Filmemigration aus Nazideutschland [Film Emigration from Nazi Germany].
Now it stands at the center of an exhibition that situates Straschek’s work in the context of the revolutionary cinema of the 1960s and 1970s. This five-hour film offers a forum to many of the more than two thousand people from the film industry forced to flee the Nazis.
The exhibition presents Straschek (1942–2009) as a man unreconciled, a filmmaker whose insistent gaze put a willfully forgotten past back on the agenda. He trained that gaze in movie theaters, among other places, notably in watching the uncompromising work of Jean-Marie Straub and Danièle Huillet, in one of whose films he appears: Einleitung zu Arnold Schoenbergs ‘Begleitmusik zu einer Lichtspielscene’ [Introduction to Arnold Schoenberg’s ‘Accompaniment to a Cinematographic Scene’].
In 1966, Straschek began his studies at the German Film and Television Academy in Berlin (dffb). He was expelled from the Academy in 1968 in the wake of the controversy touched off by his Ein Western für den SDS [A Western for the SDS ]. The exhibition includes the Academy’s “Wochenschau” [News of the week], which documents these events, as well as Straschek’s 1970 film Zum Begriff des ‘kritischen Kommunismus’ bei Antonio Labriola [On the Concept of ‘Critical Communism’ in Antonio Labriola].
Günter Peter Straschek. Emigration – Film – Politics is the fourth exhibition in the project series HERE AND NOW at Museum Ludwig. This is an experimental format in which the practice of traditional museum exhibitions is renegotiated and at the same time opened up to positions that do not necessarily have to come from the visual arts.
The exhibition is generously supported by the German Federal Cultural Foundation. It is also supported by the HERE AND NOW group of members of the Gesellschaft für Moderne Kunst am Museum Ludwig e. V. as well as the Storch Foundation.
Curator: Julia Friedrich
Website and Social Media During the exhibition, the Museum Ludwig will be posting on its social media channels with hashtags #hierundjetzt and #Straschek.
Facebook/Instagram/Twitter/Vimeo: @MuseumLudwig,

ETA 1994–2018, 2018
Press conference:
Monday, April 16, 2018, 11 a.m.,
press preview starting at 10 a.m.
Award ceremony and opening:
Tuesday, April 17, 2018, 6:30 p.m.
Curator: Yilmaz Dziewior
Curatorial Assistant: Leonie Radine
April 18 – August 12, 2018
In 2018, the Gesellschaft für Moderne Kunst am Museum Ludwig will award the Wolfgang Hahn Prize to Haegue Yang (*1971 in Seoul, lives in Berlin and Seoul). To mark the occasion, the museum is organizing her first major survey exhibition. More than 120 works from 1994 to the present will illuminate her prolific and versatile oeuvre, ranging from her formative works that include objects reminiscent of Fluxus in the 1990s to lacquer paintings, photographs, works on paper, video essays, sculptures, performative works, and large-scale Venetian blind installations.

Questions of cultural and ontological identity run throughout Yang’s oeuvre. Inviting a multifaceted perception of the phenomena in our world, she continually seeks unique forms of expression and methods that allow her to trace intercultural aspects of history. The extensive yet precise selection of the works in the carefully conceived scenography of ETA will configure and render her oeuvre as harmonious, while full of dissonances.
A catalogue raisonnée will be published in conjunction with the exhibition.
Curator: Yilmaz Dziewior
Curatorial Assistant: Leonie Radine
Website and Social Media During the exhibition, the Museum Ludwig will be posting on its social media channels with hashtags
#haegueyang and #WHP2018.
Facebook/Instagram/Twitter/Vimeo: @MuseumLudwig,

Press conference: Tuesday, August 28, 11 a.m.,
press preview starting at 10 a.m.
Opening: Thursday, August 30, 2018, 7 p.m.
Curators: Barbara Engelbach and Miriam Halwani
August 31, 2018 – January 6, 2019
Diane Arbus, Walker Evans, Lee Friedlander, August Sander, Tata Ronkholz, Albert Renger-Patzsch, Piet Zwart, and twelve other photographers all share a documentary and artistic approach, which will be presented and simultaneously questioned in Doing the Document.
Walker Evans did not describe his photographs as documentary, but instead spoke of a “documentary style.” Where does the document end and the artistic gesture begin? This is a question that must be renegotiated in these post-factual times amid the increasing aestheticization of archival and documentary materials in contemporary art. The exhibition is the result of a donation of more than two hundred works by German and American photographers from the Bartenbach family of Cologne, which recently expanded our collection considerably. In addition to valuable groups of photographs ranging from the early twentieth century to the present, the Bartenbach Collection also contains source materials that will undergo a scholarly review for the first time.
The exhibition is generously supported by the Landschaftsverband Rheinland.
Curators: Barbara Engelbach and Miriam Halwani
Website and Social Media
During the exhibition, the Museum Ludwig will be posting on its social media channels with hashtag #doingthedocument.


Press conference: Thursday, September 13, 2018, 11 a.m.,
press preview starting at 10 a.m.
Opening: Friday, September 14, 2018, 7 p.m.
Curators: Matthias Mühling, Director, Lenbachhaus, Munich, and Isabelle Jansen, Gabriele Münter and Johannes Eichner Foundation
Curator in Cologne: Rita Kersting, Deputy Director, Museum Ludwig
September 15, 2018 – January 13, 2019
Gabriele Münter (b. 1877 in Berlin, d. 1962 in Murnau) was a central figure of German Expressionism and the artist group Der Blaue Reiter, which was founded at Münter’s house in Murnau. Her role as a dedicated proponent, mediator, and longtime companion of Wassily Kandinsky is well known and recognized. This exhibition demonstrates Gabriele Münter’s importance and independence as a painter: with more than one hundred paintings, including works from her estate that will be presented to the public for the first time, it will offer a new look at this strong artist.
Münter is one of the few women who played an early role in developing modernism. Her openness and willingness to experiment as a painter, photographer, and graphic artist will now be presented in detail for the first time. Her well-known paintings include portraits of figures such as Marianne Werefkin and Kandinsky as well as romantic landscapes of her adopted home in Bavaria. The exhibition begins with rare photographs taken by Münter around 1900 during a multi-year trip through the United States. It will focus on her paintings, which, in addition to colorful portraits and landscapes, also include interiors, abstract works, and “primitivistic pictures.”
Thanks in particular to the Haubrich Collection, the Museum holds paintings by Ernst Ludwig Kirchner, Max Pechstein, as well as artists from the Der Blaue Reiter group, such as Franz Marc, August Macke, and Alexei Jawlensky. Surprisingly, the collection does not include any of Gabriele Münter’s paintings.
This gap will now be closed with the acquisition of a painting for the collection.
A large number of the works in the exhibition come from the Gabriele Münter and Johannes Eichner Foundation and from the Lenbachhaus in Munich, which is organizing the exhibition, as well as international collections such as the Des Moines Art Center in Iowa, the Center Pompidou in Paris, and the Israel Museum in Jerusalem.
The catalog for the exhibition Gabriele Münter: Painting to the Point was published by Prestel Verlag. Edited by Isabelle Jansen and Matthias Mühling. Hardcover, 272 pages, 20.0 x 27.0 cm, 248 color illustrations, 49 b/w illustrations, €39.95.
The exhibition is generously supported by the Peter and Irene Ludwig Foundation.
Curators: Matthias Mühling, Director, Lenbachhaus, Munich, and Isabelle Jansen, Gabriele Münter and Johannes Eichner Foundation
Curator in Cologne: Rita Kersting, Deputy Director, Museum Ludwig
Website and Social Media During the exhibition, the Museum Ludwig will be posting on its social media channels with hashtag #MLxGM.
Facebook/Instagram/Twitter/Vimeo: @MuseumLudwig,

Black Power – Flower Power:
Photographs by Pirkle Jones and Ruth-Marion Baruch
Press conference: Friday, February 2, 2018, 11 a.m.,
press preview starting at 10 a.m.
February 3 – June 3, 2018
On the fiftieth anniversary of the death of Martin Luther King, the Museum Ludwig is exhibiting the works of the photographers Pirkle Jones and Ruth-Marion Baruch, who captured San Francisco in the turbulent 1960s with sympathy and observing distance. It was a time when, particularly on the West Coast of the United States, the various strands of the civil rights movement and counterculture came together, in which the Black Panthers emerged and hippies experimented with new ways of living and working in the Haight-Ashbury district.
The politicization and radicalization following the assassination of Malcolm X and the bloody race riots in Watts, Los Angeles, contrasted with anarchic hedonism, and the agitative posters of the Black Panthers could be seen alongside psychedelic posters across the urban landscape.
In 2013, the Museum Ludwig received a donation of fifty-one photographs from the Pirkle Jones Foundation in San Francisco. In February 2018 they will be presented in their entirety for the first time.

Photographer’s Name Aenne Biermann
Press conference: Friday, June 15, 2018, 11 a.m.,
press preview starting at 10 a.m.
June 16 – September 23, 2018
Aenne Biermann (1898–1933) took photographs of her immediate surroundings from 1925 until her early death, and this body of work helped shape modernist photography. Her estate remains lost to this day, and only a few institutions hold original prints by Biermann. The Museum Ludwig will now present its full collection of over twenty of Biermann’s photographs for the first time.

Alexander von Humboldt: Photography and Legacy
Press conference: Friday, October 12, 2018, 11 a.m.,
press preview starting at 10 a.m.
October 13, 2018 – February 3, 2019
The year 2019 will mark the 250th anniversary of the birth of Alexander von Humboldt. Humboldt, who was well traveled and connected, was not only a member of the commission that voted for the worldwide publication of one of the first photographic processes in 1839. He was also subsequently given photo albums that are now valuable and singular works. These include an album from 1844 that the inventor of photography on paper, W. H. F. Talbot, dedicated to Humboldt—one of the first photo books ever. In 1858 Humboldt received a large album from Paul de Rosti with photos from Mexico and Venezuela in memory of his travels in South America. Their history and their journey to the collection of the Museum Ludwig will be reconstructed, offering a look back at the early days of photography.
Museum Ludwig
Heinrich-Böll-Platz, 50667 Cologne




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Secession Wien
Tamuna Sirbiladze
Montag, 11. Dezember 2017 | 19 Uhr
Buchvorstellung: Benedikt Ledebur, Herausgeber
Vortrag „almost something like revenge“
von Isolde Charim, Philosophin und Publizistin
Friedrichstrasse 12, 1010 Wien



Tamuna Sirbiladze


Begrüßung Benedikt Ledebur, Herausgeber

Vortrag almost something like revenge von Isolde Charim, Philosophin und Publizistin.

Das umfangreiche Oeuvre Tamuna Sirbiladzes umfasst vor allem Mixed-Media-Bilder. Die Künstlerin war für ihren charakteristischen Stil bekannt, der in den Spannungsfeldern zwischen entgegengesetzten Polen immer wieder neue Wege aufzeigte. Abstrakt und figurativ, spielerisch und von großem Ernst, vital und still, dynamisch und verhalten: Sirbiladzes Werk verbindet Intensität mit Vielseitigkeit.

Ihre ungewöhnlich zügige Arbeitsweise verleiht ihren Bildern eine Unmittelbarkeit, als gewährten sie direkten Zugang zur Vorstellungswelt der Künstlerin. Am augenfälligsten ist diese Ursprünglichkeit in ihren gestisch-improvisierten Bildern, für die sie mit Ölmalsticks auf ungespannter rohe Leinwand arbeitete und die wirken, als seien sie bewusst unvollendet geblieben. „Als Künstlerin“, so Sirbiladze, „will ich nicht steuern, wie die Darstellung aufgefasst werden wird.“ Der Katalog präsentiert eine sorgfältig getroffene Auswahl dieser Ölmalstickarbeiten sowie weitere Gemälde, darunter die hochgelobte V Collection (2012), die im Dialog mit ikonischen Werken Caravaggios, Giottos, Rafaels und Velázquez’ entstand. Spätere Bilder, die Frauenkörper in intimen und in der Kunst selten dargestellten Szenen zeigen, bilden Sirbiladzes Antwort auf die Vorherrschaft von Männern in der Kunstwelt.

Mit Beiträgen von Max Henry, Anna Kats und Julie Ryan sowie einem Gespräch mit der Künstlerin und einer Gruppe von fünfzehn Sonetten von ihrem Lebensgefährten Benedikt Ledebur bietet die Publikation eine umfassende Übersicht über Sirbiladzes Oeuvre und Praxis.



Tamuna Sirbiladze  1971–2016


Tamuna Sirbiladze (1971–2016) wurde in Tbilisi (Georgien) geboren. Während ihres Studiums an der Akademie der bildenden Künste Wien lernte sie den Künstler Franz West kennen; sie heirateten und arbeiteten bis zu seinem Tod 2012 an verschiedenen Kunstprojekten und Werken zusammen. In den letzten Jahren vor ihrem Tod lebte sie mit Benedikt Ledebur zusammen. Ihre Arbeiten wurden in Ausstellungen in Galerien und Museen in ganz Europa gezeigt, etwa in der Galerie Gisela Capitain in Köln (2001), bei ColletPark in Paris und Jonathan Viner in London (beide 2008) und bei Charim Ungar Contemporary in Berlin (2010). Zwei Einzelausstellungen, die 2015 in New York stattfanden, Take it easy in der Half Gallery und „good enough“ is never good enough bei James Fuentes, wurden von der Kritik gefeiert. Sie verstarb kurz nach der Eröffnung ihrer Ausstellung Two Projects bei Almine Rech in Brüssel 2016.


Verlag: David Zwirner Books
Künstlerin: Tamuna Sirbiladze
Beiträge von: Max Henry, Anna Kats, Benedikt Ledebur, Julie Ryan
Buchgestaltung: Sarah Schrauwen
Druck: VeronaLibri, Verona
Erscheinungsdatum: 2017
Einband: Hardcover
Format: 20,3 x 27,3 cm
Seiten: 160
Abbildungen: 121 Farbabbildungen
ISBN: 9781941701805
Einzelhandelspreis: $30 | £25




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