"We live in a state of constant flux and communication, yet this hyper-connectivity somehow feels more disconnected than times when we had less options and ways to communicate. I see a lot of people making artwork out of this place - disconnected objects, fragmentations, deconstructions - but without the actual answer or response or cure or even recognition of this feeling. The artworks are considered 'progressive' but are themselves disconnected and fragmented, without any real acknowledgment of that fact. So even though they may be a 'sign of the times', they also just tend to blend blandly with the background becoming sterile purposeless objects.
For Ambulance Blues, I wanted to include works that went beyond this idea of progressive. The artists included understand what it means to create a relic of a difficult world in flux with the desire to refocus our attention to something better. There is a real sadness and loneliness in recognizing this disconnected feeling and the works here evoke this. Even further, the works exhibit continuous movement beyond this by reaching towards something sublime. Good art is about knowing and feeling that you live in a fucked up world but still being able to pull out the good human parts and point towards them."
Erin Falls
Presented in collaboration with / Exhibition venue
Basilica Hudson, 110 South Front Street, Hudson NY 12534
Maureen Paley is pleased to present the third solo exhibition by Peter Hujar at the gallery.
In her introduction to Portraits in Life and Death, Susan Sontag wrote, ‘…Fleshed and moist-eyed friends and acquaintances stand, sit, slouch, mostly lie – and are made to appear to meditate on their own mortality…Peter Hujar knows that portraits in life are always, also, portraits in death.’
Working exclusively in black and white, Hujar vividly documented a New York that has been all but lost to us today.
Hujar was a contemporary and friend of Diane Arbus, and both were admirers of Weegee and shared his dark vision. Regardless of subject matter—from the catacombs in Palermo to abandoned, wrecked cars Hujar is a classicist whose distinctive style echoes further back to historical figures such as Atget and Brassaï. Hujar was a mentor and friend to the artists David Wojnarowicz and Paul Thek. His work would go on to influence the photographers Nan Goldin and Robert Mapplethorpe. His sensibility, concentration, eye for detail, and feel for light and texture enable him to find mystery where none is apparent, beauty in the mundane, and grace in disintegration. All of Hujar's work is imbued with a deep sense of mortality and as he makes visible an awareness of life and death as forever enmeshed, a depth of soul.
Born in Trenton, New Jersey in 1934, Peter Hujar received his first camera in 1947. His works have been exhibited throughout Europe and the United States.
Die KUNSTHALLE ERFURT präsentiert eine Doppelschau von Julian Röder und Robert Capa im Rahmen von CC - Classic Contemporary.
Den inhaltlichen Ansatz der Ausstellung von Capa und Röder bilden sozial-politische Transformationsprozesse und besonders "Konflikt und Krieg" als deren Katalysatoren oder Folgen. Die Erfurter Doppelausstellung ist gleichzeitig die erste größere Werkschau des jungen Künstlers (geb. 1981 in Erfurt).
Auch Magnum-Mitbegründer und Fotolegende Robert Capa (1913–1954) hat sich für die politischen und militärischen Auseinandersetzungen seiner Mitmenschen interessiert.
As part of its photo exhibition series CC – Classic Contemporary, KUNSTHALLE ERFURT presents a two-person exhibition of works by Julian Röder (*1981) and Robert Capa (1913–1954). Both photographers focus on such themes as “socio-political processes of change” in which “conflict and war” serve as the catalysts or consequences of these processes.
Like Capa, Julian Röder is not only fascinated with the (potential) violence or military engagement, but rather the tensions of human interaction and co-existence which precede these.
As part of its CC – Classic Contemporary series at KUNSTHALLE ERFURT, this two-person exhibition includes almost all of Julian Röder’s past photo series.
Goeun Museum of Photography introduces contemporary German photography that has had strong influence around the world. German photography that received spotlight with August Sander was split into two streams since 1960s. First was the school of typological photography centering on Art Academy of Dusseldorf led by Bernd and Hilla Becher as well as their students that include Thomas Struth, Thomas Ruff, and Andrea Gursky.
The tradition of subjective photography forms the other pillar of German photography, with Otto Steinert playing the key role. Interestingly enough, subjective photography is the exact opposite of typological photography in terms of contents and format. While typological photography shows interest in similarities over differences, subjective photography notices the potential created by the differences.
Images to be shown are from Claudia Fährenkemper's most recent series that captures armors from museums in various aspects and series. Both series are in black and white, beautifully and vividly exposing the nature of subjects using intensive tones and distinctive gradations. At a glance typological photography influence may have strong presence in her work but look closer and you will discover ways of describing the subject that are unique to this artist alone. It is so as she chooses the backgrounds in different tones depending on the texture of the armor and reveals various shades of black and white accordingly.
MiJung Lee, Curator
Wit–Rood–Zwart is een bijzondere groepstentoonstelling van vier belangrijke aan Zero gerelateerde kunstenaars: Leo Erb, Bernard Aubertin, Henk Peeters en Jan Schoonhoven. Zij vertegenwoordigen drie kleurrealiteiten, die symbool staan voor materie (zwart), geest (wit) en bezieling (rood).
Wit-Rood-Zwart is een tentoonstelling waarin verstilde werken worden getoond die inspelen op ruimte en de werking van licht en schaduw, kwaliteiten die raken aan de uitgangspunten van Museum Belvédère. De (niet)kleuren zwart, wit en rood verbinden het werk met dat van de vooroorlogse utopische kunstenaars die worden gerekend tot het constructivisme, nieuw beelden en suprematisme.
Wit-Rood-Zwart vormt een prelude op de grote Zero-tentoonstelling die later dit jaar opent in New York en die vervolgens te zien zal zijn in Berlijn en Amsterdam. De tentoonstelling werd georganiseerd in nauwe samenwerking met Rik van Lochem en Gerhard Roetgering en werd samengesteld door gastcurator Fred Wagemans. Een bijzondere verzameling van eenentwintig niet eerder museaal getoonde tekeningen van Jan Schoonhoven, werd beschikbaar gesteld door het Institute for the Cooperation of Art and Research (ICAR) in New York en The Merchant House in Amsterdam. Deze tekeningen zijn afkomstig uit de voormalige kunstcollectie van Henk Peeters.
Under the Same Sun: Art from Latin America Today reconsiders the state of contemporary art in Latin America, investigating the creative responses of artists to complex, shared realities that have been influenced by colonial and modern histories, repressive governments, economic crises, and social inequality, as well as by concurrent periods of regional economic wealth, development, and progress. The exhibition presents contemporary artistic responses to the past and present that are inscribed within this highly nuanced situation, exploring the assertions of alternative futures.
Organized by Pablo León de la Barra, Guggenheim UBS MAP Curator, Latin America, Under the Same Sun features works by 40 artists and collaborative duos from 15 countries. The artworks are organized around five themes: "Conceptualism and its Legacies," "Tropicologies," "Political Activism," "Modernism and its Failures," and "Participation/Emancipation."
Die wesentlichen Steinbildhauer der Gegenwart in Österreich lassen sich an den Fingern einer Hand abzählen, selbst international bilden sie eine verschwindend kleine Gruppe. Franz Rosei gehört dazu. Seit etwa 40 Jahren ist der Künstler mit zahlreichen Ausstellungen im In- und Ausland sowie durch Arbeiten in privaten und öffentlichen Sammlungen und im öffentlichen Raum vertreten.
Ursprünglich von der österreichischen Bildhauerschule herkommend, entwickelte Rosei bald eine eigene, in der Steinbildhauerei neue und eigenständige Formensprache. Seitdem arbeitet er, und nur wenige können dies heute, direkt am Stein. Rosei geht den schwierigsten Weg der Skulptur überhaupt. Er reduziert die Materie des Steins solange, bis er die für ihn endgültige Form gefunden hat.
Dem Material Stein kommt auch eine symbolische Bedeutung zu. Rosei reflektiert dessen Alter und auch die Tatsache, dass er den Menschen überdauert. Die Steine beziehen sich auf ihre eigenen Millionen Jahre zurückliegenden Entstehungszeiten, aber sie erlauben auch Assoziationen zur Geschichte ihres ästhetischen Einsatzes von der ägyptischen Vorzeit bis zur griechischen Klassik, von der romanischen Archaik bis zur gotischen Eleganz.
Roslyn Oxley9 Gallery is pleased to present its first exhibition with artist Fiona Pardington. One of New Zealand’s foremost photographers, Pardington's solo exhibition of recent works will encompass some of the defining features of her practice: memory, mourning, beauty and sensuality. Her captivating images draw heavily on the European tradition of the vanitas or momento mori painting, where the luxury and opulence of the material world is undermined by the imminence of decay. Pardington meticulously composes each study by using found objects imbued with their own history, such as rediscovered family heirlooms or native botanical items. Life, death, longing and loss are all intertwined in these photographs.
Fiona Pardington has exhibited widely since 1989. Recent exhibitions include Contact at the Frankfurter Kunstverein, Germany in 2012, the 2012 Ukraine Biennale and the 17th Biennale of Sydney curated by David Elliot in 2010. Her work is represented in several major international museum collections including the Musee du Quai Branly, Paris, National Gallery of Canada, Ottawa, Queensland Art Gallery / Gallery of Modern Art, Brisbane, National Gallery of Victoria, Melbourne, National Gallery of Art, Washington D.C and in New Zealand the Christchurch Art Gallery, The University of Auckland, Museum of New Zealand Te Papa Tongarewa, Auckland Art Gallery and Govett Brewster Art Gallery.
He Xiangyu, The Death of Marat, 2011, silicon, hair, textile, 175 x 50 x 35 cm, ProWinko Collection NL; Courtesy ALEXANDER OCHS GALLERIES BERLIN I BEIJING
The show and accompanying program – including a symposium with well-known experts in the field, guided tours and a film series – showcase works by young artists living and working in Beijing and, at the same time, highlight the diverse artistic practices in that city today.
The curatorial team comprises Guo Xiaoyan – one of China’s best known curators, at present at the Minsheng Art Museum and previously Chief Curator at the Ullens Center for Contemporary Art – as well as Berlin curators Thomas Eller (former Director of the Temporäre Kunsthalle Berlin) and Andreas Schmid. Together, they visited over 50 ateliers in Beijing’s 798 Art Zone, Cao Chang Di, Hei Qiao and Song Zhuang to select the works for "The 8 of Paths". The exhibition’s title not only evokes the lucky number 8 in the Chinese tradition, but also their own curatorial journey as they explored the paths of discovery through Beijing’s varied landscape of artistic approaches.
The legendary "China Avantgarde" exhibition held in 1993 in Berlin’s Haus der Kulturen der Welt is regarded as the first of its kind in Europe. This exhibition also co-organized by Andreas Schmid, co-curator of "The 8 of Paths", jump started an interest in Chinese contemporary art in the West. Building on that tradition "The 8 of Paths" spotlights leading current positions and profiles a new generation of artists who, thanks in part to the older generation around Ai Weiwei, have acquired quite new possibilities and freedoms over the past years.
Maureen Paley is pleased to present the second solo exhibition by David Salle at the gallery. Salle lives and works in Brooklyn, New York and is known for the crucial role his work played in the discussions around postmodernism in contemporary art. Taught by John Baldessari in the 70's at UCLA he is considered part of the Pictures Generation whose work was revisited in an exhibition of the same name at the Metropolitan Museum of Art, New York in 2009.
Salle’s subject matter and pictorial language stem from his interest and engagement in performance and his exploration into the relations between painting and cinema.
At the center of the new exhibition is a large painting of the American West titled Trappers (2014). The black and white underlying image is a re-painting of a scene by George Caleb Bingham, one of the most popular American painters of the mid 1800s. Bingham's paintings were extremely theatrical and would be set up in tents where admission was charged in order to view them. Although carefully plotted, the composition of Salle’ painting is also subject to chance as Salle introduces brightly colored body prints that are made by literally dragging a model across the painting's surface. His aim is always to keep the eye moving across and around the space of the painting and in Trappers the actual movements begin to translate into metaphorical ones.
Today you find 192234 artists, and 7845 curators in 219850 exhibitions in 12524 venues (resulting in 738888 network edges) from 1880 to present, in 1533 cities in 163 countries, plus 283 professional and private artwork offers.
