The installation 'Birdcage 2017' takes us back to the notion of habitable architecture, but with the focus on recreating an environment of confinement. With her house/cage, Choi invites the spectators to experience the feeling of finding themselves in a small and suffocating space. To complete the effect, this house allows us to see in between its slits, only partially covering what is happening on both sides, so that the people inside can see those who remain outside and vice versa.
Extreme loneliness and impersonal communications of contemporary life find their metaphorical version in this piece. Choi´s fragile construction of strings is a type of perversion of space, of society and of communication. The metaphor of the cage, more than reminding us of the cruelty of capturing a bird for our viewing pleasure, mocks human beings that shut themselves away from everyone else. It is a metaphor of our reality.
Text by Gonzalo Ortega, curator, Museo de Arte Contemporáneo de Monterrey
On occasion of Luminale 2018 (Frankfurt am Main)
The artist, born 1945 in The Hague, is present throughout the Netherlands with breathtaking large scale sculpture.
The exhibition shows work of different periods and provides an impressive insight into the artist's work.
His collages as well as his sculptures are full of tension and vitality. It is a dialogue between movement and rest, weight and lightness, volume and space. The playfully arranged constructive elements don't seem to follow a precise plan. The color of the surface is steel or bronze of the original material but sometimes as well colorful and bright.
This year’s 13th International Painting Symposium 'Mark Rothko 2017' taking place in Daugavpils, Latvia, was attended by 10 artists from 10 different countries of the world. From 98 artists’ applications, this year’s participants of the symposium were chosen by a competent international jury.
This unique structured residency at the Mark Rothko Art Centre lets artists participate in a transcultural environment to critically engage with ideas central to the Abstract Expressionist visual arts practice. The symposium provides a space to explore and debate the role and purposes of contemporary art. Participants of the exhibition: Edda Jachens (Germany), Graham Fletcher (New Zealand), Anthony White (Australia / France), Katarina Balunova (Slovakia), Evrim Özeskici (Turkey), Bernier Carol (Canada), Teona Chanishvili (Georgia), Erling Stuart Rohde (Norway), Ramūnas Čeponis (Lithuania), Madara Neikena (Latvia).
Anthony White's work considers collision points, shifts and ruptures at the site of geopolitical and cultural boundaries, particularly in relation to global immigration crises; echoing Edward Said's identification of 'the inextricable links' between Modernism, war and immigration. White's works are often characterized by an awareness of surface and a preoccupation with physicality and the found object.
A dominant area of research in his work has been concerned with the phenomenon of Empires: How do empires construct narratives to promote and propagate ideology?
Installation view, Expanding Abstraction: New England Women Painters, 1950 to Now, deCordova Sculpture Park and Museum, Lincoln, MA. Photograph by Clements Photography and Design, Boston.
This exhibition presents a vital yet lesser-known history of abstract painting in New England by showcasing the work of women painters with strong connections to the region. Despite their relative exclusion from mainstream and male-dominated conversations on postwar abstraction, these artists have made significant contributions to the field. Spanning from the 1950s to the present, the works on view in the exhibition expand traditions of abstract painting and testify to the artists’ unwavering productivity and creative innovation.
Drawn primarily from deCordova’s permanent collection, this survey explores diverse techniques, processes, and concepts. The exhibition and interpretation also emphasizes the artists’ contributions, connections, and reception within New England. Expanding Abstraction reveals the complexities of painting in the region and lays the foundation for a more inclusive understanding of abstraction through the late twentieth and early twenty-first centuries.
Jacques Breuer ist zur Eröffnung anwesend.
Zur Einführung spricht Dr. Britta E. Buhlmann, Direktorin des Museum Pfalzgalerie Kaiserslautern.
1893 in Bonn geboren und 1975 dort verstorben, hat Breuer in seinem Leben verschiedene Schaffensphasen durchlaufen. Von gegenständlichen Arbeiten der Neuen Sachlichkeit bis zur virtuellen Kinetik in den 70er Jahren entwickelte sich sein Werk trotz einer Biographie, die ihm weder Kriegsjahre in Russland noch Emigration, weder Verfolgung noch Internierung ersparte.
Ab 1945 arbeitete Breuer zunächst in Paris, dann abwechselnd in Paris und Bonn. Mit Kollegen wie Herbin, Kupka, Gleizes befreundet, engagierte er sich in der Pariser Gruppe Mesure und im Vorstand des Salon des Réalités Nouvelles.
Poesie und Geometrie, Rhythmus und lyrische Farbigkeit verbinden sich im Werk des bedeutenden Künstlers, wie die ausgestellten Gouachen, Zeichnungen, Collagen und Handdrucke, zum Teil aus den 50er und 60er Jahren und erstmals ausgestellt, erkennen lassen.
Galerie Thaddaeus Ropac is pleased to announce an exhibition in the Paris Marais gallery featuring the most important sculpture by Marcel Duchamp to be on the market for many years. The Porte-bouteilles (Bottle Rack), dated 1959, is considered one of the most influential sculptures from the 20 century.
The exhibition, October 2016 – January 14, 2017, is curated around this seminal work, a year which also commemorates the 100 anniversary of the term readymade, that Duchamp first coined in 1916 in a letter to his sister Suzanne.
The exhibition features Duchamp’s Porte-bouteilles from 1959, the year Robert Rauschenberg bought it ('Art and the Found Object', Time-Life Building, New York) for his personal collection – where it remained until it was passed on to the Robert Rauschenberg Foundation.
Galerie Thaddaeus Ropac has been chosen by the Robert Rauschenberg Foundation to place the sculpture in a public institution allowing for ongoing public viewing and scholarship.
Together with the Porte-bouteilles the exhibition will show a selection of drawings by Marcel Duchamp as well as other works that relate directly to the object.
A fully illustrated catalog of the exhibition will be published with newly commissioned texts by Cecile Debray, curator at the Musée national d’art moderne/Centre Pompidou, Paris, and Paul B. Franklin, specialist on Marcel Duchamp and editor in chief of Étant donné Marcel Duchamp.
English/French, 88 pages, 21 x 28 cm, October 2016
ISBN 978-2-910055-74-5
Nanda Hobbs Contemporary is proud to present their inaugural solo exhibition of Paris-based Australian artist Anthony White.
In his new body of work, 'Crossing the Rubicon', White continues to excavate ideas sourced from defining moments in history and their intersection with current global socio-political issues, to inform his contemporary image making practice.
The title 'Crossing the Rubicon draws from an important moment in the history of Western civilization, when Julius Caesar crossed the Rubicon river in Italy in 49AD and changed the genesis of modern Europe.
'The protean nature of identity is examined in White’s, Constantinople I, an ebullient network of thick chalk-white lines over a background of rich purples, blues and golds. Fundamental to the histories of both Christianity and Islam, the city of Constantinople (current day Istanbul) embodies the idea of multiplicity; the shifting, multifarious nature of identity that underlies White’s interest in geographical and cultural boundaries. Located in Eurasia at the physical limit of Europe, where West meets East, Constantinople represents the meeting place of two continents, two dominant ideologies and centuries of change. Constantinople I give us a sense of this constant state of flux, of building and rebuilding.' (Robert Maconachie)
The exhibition 'Crossing the Rubicon' at Nanda Hobbs Contemporary is accompanied by a catalog, with text by Robert Maconachie.
Der Moskauer Künstler Wladimir Nemuchin (1925 - 2016) [Vladimir Nemukhin] gilt als einer der führenden Köpfe der sogenannten Nonkonformisten, die aufgrund ihrer Hinwendung zur Abstraktion noch bis in die achtziger Jahre als zu „westlich“ von der offi ziellen sowjetischen Kulturpolitik diskreditiert wurden. Nemuchins Werk zeichnet sich durch eine abstrakt-fi gürliche Darstellungsweise aus. Großen Einfl uss hatte unter anderem das Werk Pablo Picassos auf ihn. Wie auch Picasso beweist Nemuchin ein breites Spektrum virtuos beherrschter Techniken, mit denen er spielerisch umgeht, ja, seit 1965 taucht die Spielkarte als Versatzstück in seinen Werken immer wieder auf.
Mit Acryl, Tempera und Gouache ergänzte Collagen bis hin zu Porträts auf Leinwand, Papier und Karton, Zeichnungen, Prints und Druckgrafi ken, teils bewegliche Plastiken und Skulpturen aus Holz, Porzellan und Bronze, Buchgestaltungen, Tee- und Kaffeeservices hinterlässt der im April verstorbene Künstler ein außergewöhnliches künstlerisches Werk, das erstmals als Retrospektive in Deutschland – nun posthum – gezeigt wird.
In der Ausstellung ist ein Film im Originalton mit deutschen Untertiteln zu sehen, in dem Nemuchin „sein künstlerisches Moskau“ vorstellt.
Begleitend zur Ausstellung erscheint ein Katalog.
Galerie Gmurzynska freut sich, die Ausstellung Kurt Schwitters: Merz ankündigen zu dürfen.
Exhibition Design By Zaha Hadid
Curatorial Collaboration with Adrian Notz Cabaret Voltaire, Zurich
Opening remarks by
Patrik Schumacher Director, Zaha Hadid Architects
Sir Norman Rosenthal
Adrian Notz Director, Cabaret Voltaire
Accompanying this major retrospective exhibition, of over 60 Works, will be a substantial publication with 250 pages.
Essays by Sir Norman Rosenthal, Jonathan Fineberg and Siegfried Gohr, historical texts by Kurt Schwitters, Ernst Schwitters, Werner Schmalenbach and Peter Bissegger.
Extensively illustrated With rare documentary Images and Hadid’s installation imagining a new Merzbau.
Die große Retrospektive baut auf der fünf Jahrzehnte langen Ausstellungsgeschichte der Galerie mit dem Künstler auf und bringt eine einzigartige Auswahl von 70 Werken in verschiedensten künstlerischen Techniken zusammen. Diese beinhalten Schlüsselwerke aus jeder Periode, wobei einige speziell zu diesem Anlass aus wichtigen Sammlungen geliehen wurden.
'Kurt Schwitters: Merz' wird in einem vollkommen transformierten Galerieraum präsentiert, der von der kürzlich verstorbenen Architektin und Pritzker Preisträgerin Zaha Hadid entworfen wurde. Die Zusammenarbeit entstand durch die Idee einer architektonischen Hommage Zaha Hadids an den berühmten 'Merz Bau' von Kurt Schwitters.
Tyburn Gallery is pleased to present an exhibition of new works by Mohau Modisakeng.
Modisakeng is one of the most promising young South African artists today. His practice reflects both upon the political and his own personal experiences of growing up in Apartheid and Post-Apartheid South Africa, with central themes which revolve around violence, labour, security and ritual.
Originally trained in sculpture, Modisakeng uses the technique of the self-portrait – through large-scale photographs, performance and video installations - to address issues such as his own identity and the political processes within his country. The artist uses his body to explore the influence of South Africa’s violent history, creating powerful and poetic invocations where the body is transformed into a poignant marker of collective history. Modisakeng explains: “The real work for me is in relating the visual signs and symbols of the abstract – be it in music or in my dreams – into a narrative that resonates with the collective social experience.”
The exhibition’s title Bophirima is from the artist’s mother tongue Setswana, meaning West or the direction from where the sun sets, also meaning twilight or before dusk. In two new series of photographic self-portraits, Endabeni and Ga Etsho, Modisakeng reflects on the legacy of colonialism and its effect on post-independence societies in Africa.
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