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.
Cabinet (III) (Drape), 2013, framed c-type print from black and white negative, frame: 65.3 x 53.3 cm - 25 3/4 x 21 inches, paper: 60 x 48 cm - 23 5/8 x 18 7/8 inches
Maureen Paley is pleased to present Sarah Jones’ sixth solo exhibition at the gallery. Following on from the recent publication of her monograph by Violette Editions, Jones’ new photographs continue to explore how subjects are measured and transcribed through the large format view camera and flattened in pictorial space. Predicated on the disarming and the vernacular she uses a vocabulary that simultaneously describes as well as documents. In her expanded Cabinet series arrangements of found objects are contained, mirrored and presented as if held in a vitrine.
Over the years themes such as the analyst’s couch, the municipal rose garden as still life in-situ, the drawing studio and the singular female subject have been central to her concerns. Her photographs are often made on location and illuminated with carefully controlled lighting that allows the subject to both emerge from and recede into a darkened space. Through the use of analogue techniques Jones studies the correspondence between the skein of the film, the surface of the photographic print and the surface of her subjects. For Jones this attention to materiality brings to mind the act of mark making in drawing.
She has previously used the diptych as a formal device and direct reference to early stereographic photographs in order to present two perspectives of a single form. More recent diptychs consider the act of doubling and the alchemic nature of the photographic process by literally flipping an Image.
The artifacts Wanda Pratschke creates are set, clear and strong. She designs female statues and figures which give an orientation and address familiarity, they invite to have a dialogue.
This dialogue we take into consideration because we are not mislead to utopian science-fiction or mimicry. Nevertheless, all her statues are filled by vision. They do not disappear to everyday life, anecdotes or gossip. They are full of changes in so many ways.
In a feminine surrounding she investigates and finds the everlasting re-definition of world, genesis, human nature. Her sitting, standing or crouching bodies are rising like rocks, widen like rivers, lasting like seas or mountains - nature.
Was Wanda Pratschke schafft, ist gefügt, klar und fest. Sie formt Frauenfiguren, die Orientierung geben und damit Ansprache, Vertrautheit, zum Du auffordern, zum Dialog einladen.
Diesen Dialog nehmen wir gerne auf, denn wir werden nicht getäuscht, keine Mimikry, kein utopischer Science-Fiction. Dennoch sind all ihre Figuren erfüllt von Vision. Sie verlieren sich nicht im Alltag, Anekdotischem, Geschwätzigkeit. Sie sind voll vielfältiger Wandlung.
Die Künstlerin verschreibt sich nicht dem schalen Traum von Paradiesen ästhetischer Illusion. Im Frauenwesen sucht sie und findet sie die immerwährende Neudeutung von Welt, Schöpfung, Menschlichkeit. Ihre sitzenden, stehenden, hockenden Leiber sind ragend wie Felsen, dehnen sich wie Flüsse, dauernd wie Meer oder Gebirge - die Natur.
Dr. Friedhelm Häring
Steve McCurry is recognized as one of the world’s finest photographers and during his career he has covered many international and civil conflicts, particularly within the regions of Asia and the Middle East. He took the first photographs from the 1979 Soviet invasion in Afghanistan, which were published in the New York Times, Time Magazine and Geo. McCurry documents the wounds of war, disappearing cultures and their traditions, the consequences of globalization and changes to the fabric of life. The now iconic image of the Afghan girl Sharbat Gula taken in a refugee camp in Pakistan appeared on the cover of National Geographic in 1985 and became instantly a symbol both of the Afghan conflict and of the refugee situation worldwide. McCurry has been a member of Magnum Photos since 1986, the famed agency founded among others by Henri Cartier-Bresson and Robert Capa in 1947.
Many of McCurry’s later photographs have also become modern icons, each with a story to tell. Best known for his evocative color images, his photographs are unique street portraits that reveal the universality of the human condition, finding the beautiful in daily experiences. “The thing I want people to take away from my work is this human connection between all of us … There’s a kind of commonality between all of us. Despite our religion, language or ethnicity, we’re all basically the same”, says Steve McCurry. He sees himself as a traveler who contemplates the facets of human existence in his work.
Alexej von Jawlensky as reflected in his artistic encounters 1900–1914
Opening
Feb 13, 2014 at 07:00 pm
Start date
Feb 14, 2014
End date
Jun 01, 2014
The anniversary of Alexej von Jawlensky's 150th birthday takes place in 2014 (born in Torschok/Russia in 1864, deceased 1941 in Wiesbaden). On this occasion, the Museum Wiesbaden, owner of the world's most notable collection of the painter who was a member of the inner circle of the Blauer Reiter (Blue Rider) group of artists, is presenting the exhibition "Horizont Jawlensky - Alexej von Jawlensky as reflected in his artistic encounters 1900–1914". The centre of the exhibition is Jawlensky's Munich period during which he achieved his powerful, colourfully expressive style through varied encounters with renowned artists in Germany, France and Switzerland. These fateful relationships have barely been studied in direct contrast to date. The works presented in the exhibition document Jawlensky's encounter with the art of Vincent van Gogh, Paul Gaugin, Paul Cézanne, Henri Matisse or Ferdinand Hodler and Edvard Munch among others as well as the German painters of the Leibl Circle or the secessionist Lovis Corinth.
In addition to some 75 works by Alexej von Jawlensky, around 50 paintings by those artists with whom he dealt intensely in those years will be presented – including Carl Schuch, Lovis Corinth, Anton Ažbe or Franz von Lenbach who were still of interest to him around 1900, then the painter colleagues he met in Germany with Gabriele Münter, Wassily Kandinsky, Marianne Werefkin.
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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