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.
Home Truths: Photography and Motherhood aims to challenge long-held stereotypes and sentimental views of motherhood by addressing issues such as gender roles, domesticity, the body and the identity of individuals within the family unit. The work of these nine artists tends to be autobiographical in focus and sits within the documentary genre. Large in both scale and scope many of the projects span over several years with some still on-going.
Please visit MoCP Website for Public Programs of this exhibition.
For her exhibition at the Nasher, Pousttchi expands on the relationship between photography, sculpture, and architecture to create a unique environment that draws on the history of the Nasher Sculpture Center site. The artist will transform one of the upstairs galleries into a closed urban streetscape recalling the gasoline service stations and parking lots that formerly occupied the Nasher location dating back to when Ross Avenue was known as "Automobile Row" in the middle of the 20th century. The floor of the gallery will be "blacktopped" and painted to resemble a street, creating a "drive thru" art gallery for selected works from the Nasher Collection. A photographic pattern reminiscent of expanding scissor gates often used to protect storefronts and automobile repair shops will be applied to the glass facades of the gallery, obscuring views into and out of the space. In addition, several of Pousttchi’s sculptures made from police barricades and street bollards will occupy the spaces surrounding the gallery.
Born in Mainz, Germany in 1971, Pousttchi studied with artists Rosemarie Trockel and Gerhard Merz at the esteemed Kunstakademie Düsseldorf and participated in the Independent Study Program at the Whitney Museum in New York in the 1990s. Since 1997, she has participated in numerous group and solo exhibitions, including at the Venice Biennale in 2003 and 2009, the Kunsthalle Basel in 2011, and the major projects mentioned above.
Carles Valverde (*1965) works with metal, mainly with steel, with sheets and profiles commonly used industrially; he oxidizes, sands, and adds patina to these materials. His universe is identified with geometry, his sculpture is governed by sections, angles and sharp edges. At a first glance, nothing contradicts the rigor of forms. We admire the sharpness of his vision and the beauty of the surfaces. But in reality, nothing is more variable than this geometry. Small pieces that can be held in one‘s hand, dense and massive, are produced in their monumental versions and placed on the ground; these sculptures only have a transitory appearance.
Valverde is interested in the options that are hidden within the forms. It is not only the finished sculpture that tempts him, but the forms contained within. Geometry is a language of clarity and simplicity that holds all the complexities. The work of Carles Valverde was developed starting from simple ideas from which it reveals inexhaustible riches.
He has shows in Switzerland, Germany and Spain, while participating in international art fairs throughout Europe. He also produced several monumental sculptures for public and private organizations and his works are part of numerous collections in Switzerland and abroad.
Portraiture customarily takes on the aura of fact, as it communicates information about a sitter’s visage. When captured through the mechanical lens of the camera, such likenesses impress us as vivid surrogates for reality. Face It: The Photographic Portrait considers the notional world—where ideas are balanced with facts—presented in the close-up. It assumes that there is more to the photographic portrait than meets the eye. In place of seeking a strict reportage of a subject’s features, or outright flattery, Face It bids us look for the affective moment, the human interest, and the metaphorical associations inherent in portraits of persons known or anonymous. When confronted with figures loosed from the conventions of traditional portraiture, we, as viewers, are prompted to be active rather than passive in our experience of the images. The intimacy that occurs in such an encounter with the informal or ambiguous conjures in us a psychology of looking.
A series of special events are being offered in conjunction with the exhibition. More information can be found on the museum's website.
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