Maureen Paley is pleased to announce an exhibition of new work at the gallery by Tim Rollins and K.O.S.
Tim Rollins is an artist, teacher and activist who began his career as the assistant of the conceptual artist Joseph Kosuth. In 1979 he co-founded Group Material in New York. In the early 1980s, he taught students at Intermediate School 52 in the Bronx and went on to create the Art & Knowledge Workshop. His highly acclaimed collaboration with the members of K.O.S. (Kids of Survival) continues to this day. Rollins combines lessons in reading and writing with making artworks. The source material laid out and studied by the students generally relates to literary or musical classics, such as works by William Shakespeare, George Orwell, Ralph Ellison or Franz Schubert, but can also include comics or legal documents.
Contemporary Sculpture in Bad Homburg and Frankfurt RheinMain
Opening
May 26, 2013 at 11:30 am
Start date
May 27, 2013
End date
Oct 06, 2013
Every two years, large-scale works and installations by some of the world’s leading sculptors as well as emerging new talent are on display in the historical landscape gardens of Bad Homburg and other prime locations throughout the RhineMain region. Reflecting the most varied contemporary artistic currents, each Blickachsen is curated together with a different international partner museum.
This year, Blickachsen’s founder and curator Christian Scheffel is delighted to be working together with Olivier Kaeppelin, Director of the renowned French Fondation Marguerite et Aimé Maeght. The Fondation is internationally known for its exceptional collection of modern and contemporary sculpture.
Blickachsen 9 presents some 90 works by 38 artists from 14 countries.
For the first time an exhibition is dedicated extensively to the phenomenon of vision in contemporary art. In what way does it differ from the utopia, what energies does it hold for the active shaping of the future? Inspired by the first apparition of the Virgin Mary north of the Alps, the Herford apparition from the 10th century, “Visions” embarks on an unconventional, highly stimulating journey through a wide range of contexts and phenomena, allowing the viewer to trace the spirit and the atmosphere of visionary thought and formation.
Maureen Paley is pleased to announce a solo presentation of new work by Anne Hardy. This will be her third exhibition at the gallery.
Following on from her recent solo exhibition at the Secession in Vienna, Anne Hardy will present three photographs, Notations, Script and Shelf.
In the upstairs space she will build a structure of two interconnected rooms. This is a sculptural continuation that has grown out of her recent residency at the Camden Arts Centre. It is the first time she allows the viewer to enter an actual space of her making. In the past these were created solely to be photographed and were always destroyed afterwards. Breaking away from this former process allows her to expand her working methods and has given her a new dimension to explore within this exhibition. The space was created one month prior to this exhibition opening and has slowly taken shape during that time period.
Morgan Fisher, ( ), 2003. 16mm film, color and black and white, silent, 24 frames per second, 21 minutes. Director: Morgan Fisher. Copyright the artist. Courtesy Maureen Paley, London.
Maureen Paley is pleased to announce the first solo presentation by Morgan Fisher at the gallery.
His film ( ) will be projected for four days in the second of two screening weeks the gallery has organised this year. The film will be on show continually on each day of the screening during gallery opening hours from 11am – 6pm.
4 – 7 April 2013
Private view Thursday 4 April, 6.30 – 8.30 pm
Morgan Fisher will be available for informal conversation Saturday 6 April, 4pm – 6pm
Morgan Fisher reflects on ( )
( ) benefits from multiple viewings. The film is unusual in that its construction makes it very difficult to remember, a fact that repeated viewings will make clear. A second viewing of the film will almost certainly accord only somewhat with the viewer’s memory of the first, and the same will be the case for the relation between the second viewing and the third.
Franz Gertsch (born 1930) belongs amongst Switzerland’s most important contemporary artists. He achieved international fame with, partly oversize, fotorealistic paintings and woodcuts. The exhibition at Museum Sinclair-Haus displays a representative selection (around 70 works) of his woodcuts dating from 1986 to 2008.
Gertsch organically developed his landscape images from the portraits, as all of nature’s shape-generation exhibits common structures. This development is considered in the exhibition, with each of the earliest and the youngest woodcut showing portraits. Via photographic templates the landscapes are taken directly from the real environment, and through their implementation they acquire an immaterial air that transforms their image into an atmospheric field of colour. Behind a permeable screen of monochrome colour the woodcuts’ subjects continuously appear as if detached from this earth.
Franz Gertsch’s Woodcuts are marked by a prolonged process of creation. Thus time is of equal importance as subject and colour as one of the three crucial components of his work. This exhibition, devised in cooperation with Franz Gertsch, documents the essence of his work in a concentrated selection of works.
The exhibition “In Light of the Infinite – Romanticism and the Present” explores aspects of Romanticism in contemporary art. In diverse artistic positions, including photographs, installations and videos by artists ranging from Marina Abramovic to José Maria Mellado and Bill Viola, the exhibition will explore contemporary artists’ romantic view of the world, people and art. According to a definition provided by Charles Baudelaire in 1848, “Anyone talking about Romanticism is talking about modern art, i.e. the intimacy, the spirituality, the colour and the search for the infinite - expressed through all of the means available to art”. Although the forms and images, as well as the means and the possibilities, have changed considerably, the desire to create art that can change the world is still just as much alive today as is the desire to personally experience becoming one with nature in an attempt to counterbalance the material world with something transcendental, the functional with something mysterious and the banal with something meaningful.
Kuad Gallery presents a selection of the works of 1925 Maastricht (The Netherlands) born artist Gerad Caris entiled“Pentagonism”.
After his education in Technical School Maastricht Caris’ life until 1970’s was divided into working as petrol engineer in Far and Middle East, including Turkey and as a student of art and philosophy in USA (1957-1967). He graduated from the Monterey Peninsula College, California, the Monterey Institute of Foreign Studies and San JoséCollege(arts and humanities) and later from the University of California, Berkeley a. o. with David Hockney, Ronald Kitay, Elmer Bischoff and Richard Diebenkorn. He has B. A. in Philosophy and "Masters degree in art" from the University of California, Berkeley.
Since 1970 he lives and works as full time artist in Maastricht, creating a remarkable corpus of work from a single form, Pentagon. He is producing sculptures, reliefs, paintings, drawings, graphic editions using the limitles possibilities of pentagon geometry and its spatial form of dodechachedron.
Since 1968 his work has been presented in prestigious museums and institutions such as Bonnefantenmuseum, Maastricht; Parsons School of Design, New York NY; Museum voor Hedendaagse Kunst, Utrecht; Stadtmuseum Ratingen; Wilhelm-Hack-Museum, Ludwigshafen; Kunsthalle, Bremen; Museum für Konkrete Kunst, Ingolstadt; Stedelijk Museum, Amsterdam and in numeorus European art galleries in solo and group shows.
Ironisch, provokant, witzig – seit seinen Anfängen im New Yorker East Village der frühen 1980er-Jahre hat der US-amerikanische Künstler George Condo ein unverwechselbares Œuvre geschaffen. Seine von beißendem Humor, surrealistisch anmutender Absurdität und überbordendem Pathos gekennzeichnete Malerei nimmt – von Velázquez über Picasso bis Gorky – immer wieder Bezug zu den Traditionen der amerikanischen und europäischen Kunstgeschichte der letzten 500 Jahre.
In Zusammenarbeit mit der Londoner Hayward Gallery präsentiert die SCHIRN eine umfassende Retrospektive des Künstlers, dessen Stil sich als künstlicher Realismus beschreiben lässt. Seine Gemälde wie seine Skulpturen legen die anhaltende Auseinandersetzung des Künstlers mit der menschlichen Physiognomie und allzu menschlichen Geisteszuständen offen. Neben 66 bedeutenden Gemälden aus unterschiedlichen Schaffensperioden zeigt die Schirn in thematisch und stilistisch geordneten Gruppen zudem eine Auswahl von etwa zehn Skulpturen sowie neue Arbeiten George Condos.
Today you find 195958 artists, and 8126 curators in 221877 exhibitions in 12573 venues (resulting in 762874 network edges) from 1880 to present, in 1545 cities in 163 countries, plus 277 professional and private artwork offers.
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