Keita Miyazaki, a young Japanese artist, works on creating sculpture series and installations which evoke a sense of the post-apocalyptic. He is an artist exploring the supposedly polar notions of orderliness and fantasy. His installations select materials for their capacity to suggest ambiguity: traditional like metal, light and fragile like paper, invisible like sound. These juxtaposing techniques avoid concrete description, instead suspending forms in a state of uncertainty.
For Miyazaki, the car is a symbol of global capitalism that represents the tenets of modernity such as industrial progress and mass production. Meanwhile, the scrap metals used in his works evoke a sense of destruction in the mind of the audience. To contrast with machinery, colourful flowers made of paper and felt bloom from the car parts. The botanical elements represent rebirth and the continuation of life. The auditory element also plays a crucial role in his works, as the collected sounds of city life come out from speakers concealed in the flowers and expand the territory of the post-apocalyptic world. Installing a variety of sculptures in the two galleries, Miyazaki explores the relationship between the audience and the sculptures by depicting a complexity of visual and audio illusions in a space where reality and fantasy converge and stimulate the audience’s imagination into envisaging a future world.
Organised by the Daiwa Anglo-Japanese Foundation
Der Pionier der digitalen Kunst zeigt Arbeiten aus den Jahren 2013 bis 2015.
Seit 1968 arbeitet er mit Computer und Programmiersprache und entwickelt Algorithmen, um seine Ideen zum Thema „Kubus“ visuell umzusetzen. Vom 3-dimensionalen Würfel bis zum vieldimensionalen Hyperwürfel erscheint dieser geometrische Körper bei Mohr in neu generierten Zeichensystemen.
Zu sehen in leuchtender Farbigkeit oder in Schwarz-Weiß, als Bildschirm-Arbeit, als Zeichnung oder als Malerei. Dabei bleiben Bezüge zur Musik dem Künstler (in jungen Jahren auch Jazz-Saxophonist) stets wichtig und ihre Strukturen erkennbar inspirierend.
Zur Eröffnung um 18 Uhr spricht Dr. Lida von Mengden (Kuratorin).
For over three decades Marilyn Minter has produced lush paintings, photographs, and videos that vividly manifest our culture’s complex and contradictory emotions around the feminine body and beauty. Her unique works—from the oversized paintings of makeup-laden lips and eyes to soiled designer shoes—bring into sharp, critical focus the power of desire. As an artist Minter has always made seductive visual statements that demand our attention while never shirking her equally crucial roles as provocateur, critic, and humorist.
Minter’s work is not merely a mirror of our culture, and this exhibition provides, for the first time, a critical evaluation of her practice as an astute interpretation of our deepest impulses, compulsions, and fantasies.
25 paintings made between 1976 and 2013, three video works, and several photographs that show Minter’s work in depth.
Co-produced with Museum of Contemporary Art Denver
This series is titled after the Italian term Pentimento. This phrase, which is used to describe layerings, additions or changes to a work of art, allows multitudinous readings, different layers as one descends through White’s palimpsest of forms and colours. However pentimento can also be translated as repentance, which suggests atonement or remorse. In 2009, White immigrated to France after being awarded a studio at La Cite Internationale Des Arts. Is Pentimento, then, a form of atonement for having left his native country, a gift from afar to compensate for his departure from Australia?
Rather than Australian indigenous art, White is more accustomed to comparisons with the abstractionists of the New York School of the 1950s, Kurt Schwitters or Robert Rauchenberg’s Combines. The artist himself suggests the French affichistes artist Jacques Villegle who created magical collages via torn metro and street posters, creating poetical compositions that embraced elements of the alphabet, photography and design. It is not difficult to see Villegle’s influence on White.
Although distinctly painterly, one can see the suggestions of torn edges, of strange depths as though other narratives reside beneath the immediate surface. Like the hidden Egyptian hieroglyphs obscured by palimpsests of ‘new’ information, White creates a world of textures, his own secret histories which allow hours of contemplation, translation and interpretation.
Words by Ashley Crawford, Melbourne 2015
With this piece, Beutler continues his acclaimed work in which he assembles mundane materials in individual processes to create spatial installations relating directly to each particular site.
The cross-genre works are intended to be understood as reactions to architectural and social structures, as well as to specific situations at respective sites within the exhibition. Central elements in Michael Beutler's works are also underscored by his analysis of industrial production processes and the economies associated with them, as well as the thematic development of a conscious and autonomous attitude to the materials and methods he uses. The artist incorporates industrially manufactured or processed materials, such as paper, metal, wood or plastic, shaping them into large-scale building elements with specially developed tools and apparatuses, as well as through the involvement of third parties. Resembling an experimental setup, a condition of provisional uncertainty is created in the process-like development of his installations, which Beutler seizes as a necessary, productive component of his work.
In this exhibition at Hamburger Bahnhof, Beutler goes beyond simply elevating the historical hall into the show's protagonist; instead he transforms it into a place of continuous production, into a 'museum workshop'.
Support for this exhibition project is part of a multiyear partnership between Volkswagen and the Nationalgalerie - Staatliche Museen zu Berlin
Dandy Lion: (Re) Articulating Black Masculine Identity
Opening
Apr 06, 2015 at 11:00 am
Start date
Apr 06, 2015
End date
Jul 12, 2015
The exhibition seeks to distinguish the contemporary expressions of the Black Dandy phenomenon in popular culture. The first comprehensive exhibition of its kind, this project highlights young men in city landscapes who defy stereotypical and monolithic understandings of Black masculinity by remixing Victorian-era fashion with traditional African sartorial sensibilities. Dandy Lion: (Re) Articulating Black Masculine Identity features images of both emerging and world- renowned photographers and filmmakers from various regions of the African Diaspora, including the U.S., South Africa, the Congo and Western Europe. Juxtaposed against an urban backdrop, the “hip hop” generation’s Black Dandy is noticeably different from the historical minstrel or Harlem Renaissance queer prototype. The 21st century Black Dandy’s sartorial choices are an expression of the African aesthetic rather than an imitation of European high-brow society. Using their self- fashioned bodies as sites of resistance, contemporary Black dandies are complicating modern narratives of what it means to be Black, masculine and fashionable today.
Photographer Steffi Klenz is preoccupied with the built environment, exploring the notion of place and space in her work. Although her work presents environments and buildings it is not architectural photography.
Klenz' work has been described as 'post photographic' because she considers whether meaning is influenced by what lies outside the picture frame. She also considers whether repetition underpins or obscures meaning and the context, and if the location in which an image is stored or experienced changes what it communicates.
In Plotting Spaces. Steffi Klenz works with the theatrical fly-tower and the focal plane shutter of the camera as places and devices, which produce an uncertain distinction between fact and fiction.
Plotting Spaces strips back the space of the theatre and the workings of the camera to their architectural and theatrical essence. the images reveal the tension between narrative tendency (describing what we see) and abstract possibility (creating illusion and make believe).
Plotting Spaces brings into sharp relief spaces that are curtained (or screened) off, a space in which a charged absence emphasises presence. Klenz’s images aim to encourage the debate about how photographs are produced, how they communicate and how they might be rethought.
In her most recent body of work, the Taiwanese-born, Stanford educated and San Francisco based photographer, Donna J. Wan has dedicated herself to exploring an often shuttered and taboo subject - the taking of one’s own life.
Abstractly, the images call to mind the “spirit” photographs of the 19th century, not in the artifice of their technique, but in the spirit of their quest to recall the lost – and the losses suffered.
"Death wooed us" has already been recognized as a powerful and controversial statement. Formally exquisite, the emotional resonance of the work slowly reveals itself. The sublime views are positively reaffirming life.
Joseph Beuys, Sled, 1969. Wooden sled, felt, fabric straps, flashlight, fat, oil paint, string, 13 3/4 x 35 7/16 x 133/4 in – 34,93 x 90 x 34.93 cm. Courtesy of Mitchell-‐Innes & Nash, NY
Large‐scale exhibition of Joseph Beuys multiples from the collection of Reinhard Schlegel. Consisting of over 500 works spanning from the early 1960s to his death in 1986 this exhibition is the most significant collection of Beuys multiples to be shown in New York to date.
The multiples carry a special significance in Beuys’s oeuvre; he once said: “If you have all my multiples, then you have me completely.” Connected to his ambition to affect social change through art, the multiples allowed Beuys an avenue to disseminate his ideas at greater range. Each multiple in the collection encapsulates a specific moment, performance or idea in Beuys’s practice, and are laden with symbolic meaning. Capri Battery, for instance, is one of the last multiples Beuys created and connects a natural object (the lemon) with a pinnacle of human innovation (the light bulb), signifying ecological balance between man and nature.
The Exhibition will be accompanied by an illustrated publication with an essay by Eugen Blume.
It is the first survey of this provocative Polish-born, New York-based artist's photography.
Known for working in a wide variety of media including installation, fiber art, resin paintings, and collage, Uklański (born 1968) invests overlooked and exhausted styles with new meanings—and similarly explores clichéd or obsolete photographic languages.
Nearly half of the works on display in the Metropolitan Museum's exhibition will be from The Joy of Photography (1997-2007), the artist's seminal yet under-known series.
Also on view will be the related installation, Fatal Attraction: Piotr Uklański Selects from the Met Collection, a lively "artist’s choice" of works from 11 different curatorial departments at the Met and 60 works from the Department of Photographs.
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