Die Ausstellung 'Framis in Progress' ist die erste umfassende Retrospektive von Alicia Framis (*1967 in Barcelona, lebt und arbeitet in Amsterdam) in Österreich.
Internationale Aufmerksamkeit erlangte die Künstlerin durch ihre interaktiven Installationen und interdisziplinären Performances, in denen sie sich mit sozialen und politischen Problemfeldern auseinandersetzt, die für die zeitgenössische, urbane Gesellschaft virulent sind. Statt Missstände abzubilden, entwickelt sie phantasievolle Lösungen, die sie frei zugänglich macht und die zugleich eine hohe ästhetische Qualität besitzen. Für die Ausstellung hat Framis unterschiedliche Plattformen an den Schnittstellen zwischen Kunst, Mode, Architektur und Design konzipiert.
The exhibition 'Framis in Progress' presented by the Galerie im Taxispalais, Innsbruck, is the first comprehensive retrospective show of work by Spanish artist Alicia Framis to be seen in Austria.
Framis first attracted international attention with her interdisciplinary performances and interactive installations, in which she investigates the problematic social and political fields virulent in contemporary urban society. Rather than simply depicting the deficits, the artist develops highly imaginative solutions and makes them freely accessible to her viewers; at the same time, these solutions display a highly aesthetic quality. Framis’s works examine wishes, longings, fears or dreams, and she plumbs the collective, social constitution of our times.
INVISIBLE-EXPORTS is pleased to present Left Behind, with a special guest performance featuring Marina Abramović as the Grim Reaper, the third solo exhibition of new work by Lisa Kirk.
Lisa Kirk is a multimedia artist working as a visual and critical renegade – re-appropriating, restaging and re-contextualizing imagery, artifacts, and colloquial idioms from a political and social culture built on paradox and contradiction. The contextual foundation from which Kirk builds her work is suffused with power structures, which are themselves laced throughout with collective doubt and institutional suspicion.
In Left Behind, an exhibition of works on paper, sculpture, custom therapeutic elixirs, and installation, Kirk delivers work saturated with our ubiquitous cultural fear of a near-future of near-ruin. Her works on paper depict a petrified rainbow, rusted in a state of imprecise oxidation, a simple geometry ravaged from environmental effects, and an abstraction that suggests the half-life afterlife of eroding abandoned steel – the degradation of environment and atmosphere, at once physical, imagined, and portentous. With her sculptures, rusted-over broken umbrellas abandoned in a storm, she transforms everyday detritus into disaster artifact.
As a final component, starting on January 25 at 13 o’clock, there will be a special 24-hour durational performance featuring Marina Abramović as the Grim Reaper.
Zhang Huan 张洹 (Chinese, b. 1965). Family Tree 家谱, 2001. Nine chromogenic prints; each 21 x 16 1/2 in. (53.3 x 41.9 cm). Yale University Art Gallery, New Haven, Leonard C. Hanna, Jr., Class of 1913, Fund
The first major exhibition of Chinese contemporary art ever mounted by the Metropolitan, Ink Art explores how contemporary works from a non-Western culture may be displayed in an encyclopedic art museum. Presented in the Museum's permanent galleries for Chinese art, the exhibition features artworks that may best be understood as part of the continuum of China's traditional culture. These works may also be appreciated from the perspective of global art, but by examining them through the lens of Chinese historical artistic paradigms, layers of meaning and cultural significance that might otherwise go unnoticed are revealed. Ultimately, both points of view contribute to a more enriched understanding of these artists' creative processes.
Featuring some seventy works by thirty-five artists in various media—paintings, calligraphy, photographs, woodblock prints, video, and sculpture—created during the past three decades, the exhibition is organized thematically into four parts: The Written Word, New Landscapes, Abstraction, and Beyond the Brush. Although all of the artists have challenged, subverted, or otherwise transformed their sources through new modes of expression, Ink Art seeks to demonstrate that China's ancient pattern of seeking cultural renewal through the reinterpretation of past models remains a viable creative path.
Gachi Prieto Gallery is pleased to announce the solo exhibition “FULGOR” by Verónica Gómez, from December 11th to January 25th.
Portraits of old girls. Furniture that retain the scent of gardenias in their drawers. Withered flowers that insist on drinking the thick black liquid from a vase. Patterned gobelins. A shy virus on the surface of things. A mug, a painting lying on a chair. The infinite solitude of objects devoid of purpose. Robert Burton wrote in his "Anatomy of Melancholy": Melancholy is the nature of mortality. Veronica Gomez composes her repertoire, an anthology of feelings that once were bright. A repertoire of ornamental sadness.
Nicasio Verne
The American artist, Llyn Foulkes, who was born in Yakima, WA in 1934, is one of the most noteworthy discoveries of the last documenta. As the first museum in Europe, the Museum Kurhaus Kleve is showing a comprehensive retrospective of his work with about 100 works from the early 1960s to the present. A particular accent will be placed on the reciprocal relationship between fine art and experimental music.
Llyn Foulkes is a key figure in the art scene of the U.S. west coast, creating an oeuvre that is as fascinating as it is unwieldy. It starts in the early 1950s with paintings redolent of surrealism leading, via combine paintings and assemblages starting in about 1959, and the disturbing portraits of the 1970s, to the works critical of society and consumption of the past decades which can equally well be spoken of both as paintings and material images. In them he thematizes the shady sides of the 'American way of life' with its unconditional striving for individual happiness and material well-being.
A catalogue is available for this exhibition.
"Llyn Foulkes" was organized by the Hammer Museum, Los Angeles.
The exhibition was made possible by major gifts from Susan Steinhauser and Daniel Greenberg/The Greenberg Foundation in honor of Mickey Gribin; Kayne Foundation – Maggie Kayne; and The Andy Warhol Foundation for the Visual Arts.
The exhibition was curated by Ali Subotnick, Curator, and the presentation at Museum Kurhaus Kleve was organized by Harald Kunde, Director.
Gavin Au - Homan Ho - South Ho - Vivian Ho - Nicole Wong
Opening
Dec 07, 2013 at 04:00 pm
Start date
Dec 07, 2013
End date
Jan 04, 2014
These Shores is a group exhibition featuring the new generation of Hong Kong artists. Curated by André Chan, the exhibition features five selected artists, Gavin Au, Homan Ho, South Ho, Vivian Ho, Nicole Wong.
Like many great cities - London, New York, Shanghai - the origin of Hong Kong is as a seaport. Initially a small trading harbour, the resulting wealth from the growth in commerce caused it to grow vastly in size but also saw the inhabitants lives become more urban, disconnected from the surrounding environment. These Shores aims to show a re-connection between the land and its inhabitants through the eyes of these five artists.
The featured artists were all born in Hong Kong during the 1980s, an era overshadowed by the approaching handover of the colony to China in 1997. In response to the perceived and threatened changes that might result, a movement towards reinforcing the identity of Hong Kong was pursued by many of the inhabitants. A shift in policy by the UK government in handing over its power to the local people enabled the movement to grow and as a result unlike earlier generations, those born in Hong Kong began to view it as their homeland and no longer as a temporary place, lacking permanence.
History in Imaginary Time (2012) 5 Objekte, verschiedene Materialien (Metallgitter, Tennisbälle, Kapuzenpullover, Kabelbinder, Farbe), jedes Gitter 80 x 80 x 200 cm
Sofia Hultén (born 1972 in Stockholm, lives in Berlin) delicately occupies herself in her videos, installations, sculptures and photographs with the wide variety of opportunities for action. By reconstructing or rearranging courses of events she explores in the process banal everyday procedures like eating an apple as well as the character and history of profane objects with little value like a worn piece of wood or an old toolbox she finds at construction or demolition sites. She hence regularly succeeds in breaking through conventional patterns of perception and tracing unknown dimensions in the everyday.
Along with the 2009 Kunstfond Grant and other prizes, Sofia Hultén received the 2011 Moderna Museets Vänner Sculpture Award and participated in international group exhibitions at the National Gallery of Iceland (2012) and the Today Art Museum Beijing (2010). Her work has also been seen at solo shows organised by the Langen Foundation, Neuss (2012), the Künstlerhaus Bremen (2008) and the Kunstverein Nürnberg (2007). The exhibition catalogue will e published in early 2014.
Jacqueline Hoang Nguyen explores a forgotten landmark and its history in her multi-part installation Space Fiction & the Archives: the world’s first UFO landing pad. Built in the Canadian town of St. Paul, Alberta, on the occasion of the celebrations honouring Canada’s centennial in 1967, it was intended to symbolise the country’s cosmo(s)politanism. At a time of extreme political tension in the United States, Europe and the former Soviet Union, Canada was undergoing a period of festive euphoria, hosting Expo ’67 in Montreal and becoming a pioneer of multiculturalism with its demonstrative urbanity. Nguyen’s exhibition encompassing a film (1967: A People Kind of Place) and a collection of documents, photographs and sculptures takes the viewer on a trip back through time to this incongruous episode of Canadian history. Science fiction and identity politics enter in the process into an unconventional relationship that poses questions regarding the ideological structure of a multicultural society and the concept of the “alien”.
Jacqueline Hoang Nguyen (born 1979 in Montreal, lives in Brooklyn and Stockholm) studied in Montreal, Malmö and New York City, and has already been awarded a number of prizes and grants, including from the Canada Council for the Arts (2012) and Iaspis, Swedish Arts Grants Committee (2010). Her most recent solo exhibitions could be seen at VOX: Centre de l'image contemporaine, Montreal (2012) and the Skånska Konstmuseum, Lund (2009).
The international group exhibition The Air of Songs is the materialized portrayal of the bonds that have sprung from the activities surrounding the AIR CELEIA artist’s residency programme at the Center for Contemporary Arts in Celje. The year 2014 will see the 10th anniversary of its implementation, and with it the aspiration to meet up again with the foreign artists that were hosted in Celje, bringing together also the Slovene artists that were given, through the joint partnership, the opportunity to live and work in Ireland as part of the artist’s residency at Flax Art Studios in Belfast.
The Air of Songs is therefore an exhibition that is primarily conceived with the aim to re-actualize the existing international links. This includes work created after the residency in either Celje or Belfast, hence offering an insight into the most recent art practice of the participating artists.
The works which are diverse in subject matter (from addressing scientifically unprovable phenomena such as the paranormal field, to the reinterpretation of events from the past or exposing the topical issues of today, the power of the entertainment industry in forming a collective consciousness, the effects of consumerism on individual subjectivity and the natural environment ...) all share an explicit use of sound, various ways of using the voice, music, singing … And this is also where the title of the exhibition comes from.
Der Portikus präsentiert eine Ausstellung mit Arbeiten von Amelie von Wulffen: Gezeigt werden neue Bilder, eine Diashow ihres jüngsten Comics und eine Werkgruppe bemalter Stühle. Eine solche Vielfalt an unterschiedlichen Medien, die für von Wulffens künstlerische Praxis charakteristisch ist, war bislang nur selten zu sehen. Insofern kann diese Ausstellung durchaus als Modell für die unterschiedlichen medialen Verfahren betrachtet werden, die zum Repertoire der Künstlerin zählen.
Amelie von Wulffen entwirft für den Portikus eine exklusive Edition.
Portikus is presenting an exhibition by Amelie von Wulffen, showing recent paintings, a slideshow of her latest comic, and a group of painted chairs. It has only happened on rare occasions that this variety of media, which is deeply rooted in von Wulffen’s practice, has been exhibited in this way. This way, the exhibition becomes somewhat of a prototype for the different genres in which the artist operates.
Amelie von Wulffen is creating a unique artist edition for Portikus.
Today you find 195959 artists, and 8126 curators in 221877 exhibitions in 12575 venues (resulting in 762905 network edges) from 1880 to present, in 1545 cities in 163 countries, plus 277 professional and private artwork offers.
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