The exhibition Mona Hatoum: Turbulence brings to the forefront the diversity of Mona Hatoum’s work over the last 30 years.
The choice of the notion of turbulence as a conceptual framework for the exhibition is derived from the thematic and formal dichotomies inherent within the artist’s work. These render it familiar yet perplexing, allowing for an intense aesthetic experience that is both inviting yet impenetrable, or, in other words, turbulent.
Mona Hatoum: Turbulence is the artist’s largest solo exhibition to date in the Arab world. It consists of more than 70 works ranging from large-scale room installations such as Light Sentence (1992) and Suspended (2011) to smaller works on paper and sculptural objects such as Projection (2006), and Untitled (wheelchair II) (1999) respectively. It also includes some of the artist’s kinetic installations such as + and – (1994 – 2004) and Home (1999). The exhibition is punctuated with a number of the artist’s photographs like Van Gogh’s Back (1995) and Static Portraits (Momo, Devrim, Karl) (2000), as well as documentations of early performances such as The Negotiating Table (1983), highlighting the diversity of artistic undertakings that span the artist’s prolific three-decade oeuvre.
A fully illustrated catalogue accompanies the exhibition.
For the first time in Germany the artist couple Driessens & Verstappen present a solo show of their newest series of artworks. "Solid Spaces" refers to a new art project where they scan the interior of buildings with their own developed hardware. The resulting 3-D sculptures are materialized with a 3-D Print. This surprises the viewer with a new perception of the space.
International exhibitions e.g. Stedelijk Museum, Amsterdam and Neue Pinakothek, Munich, Germany. Their art is part of major collections like the MMK in Frankfurt/Germany or the Central Museum in Utrecht.
2013 they were awarded the Witteveen+Bos Art+Technology Award, Deventer.
Das Künstlerpaar Maria Verstappen + Erwin Driessens erarbeiten bereits seit 1990 ihre gemeinsamen oft aufwendigen Installationen oder Kunstwerke. Dabei bewegen sie sich zwischen raumfüllenden Installationen, Animationen und Kleinskulpturen. Sie erarbeiten ihre eigenen Maschinen, oft Vorrichtungen, die computergesteuert die prozessualen Werke realisieren. So entsteht aus einer Ansammlung von Wachs mittels eines langsamen Schmelz – und Härtungsvorgangs eine bezaubernde “Eislandschaft”. Ihr neueste Werkreihe basiert auf digital gesammelten Daten eines Innenraums. Im konkreten Fall die Bergkerk in Deventer, NL und die DAM GALLERY in Frankfurt am Main.
"Autocontrucción" (auto-construction) is the term Abraham Cruzvillegas (born 1968) uses to describe his art, the roots of which lie in the improvised construction methods and techniques of his native Mexico City. In this first major survey of his artistic career to be presented in Europe it can be seen, how Cruzvillegas combines his dynamic sculptural language with natural materials and found objects, blurring the boundaries between art and craft and between industrial and manual production. For Cruzvillegas, the sculptural form is a process of change, action, solidarity, and transformation. Over the past decade, Cruzvillegas has created an impressive body of work that reflects his interest in the forms and matter surrounding Ajusco, a volcanic area south of the Mexican capital.
"Abraham Cruzvillegas: The Autoconstrucción Suites" is organized by the Walker Art Center, Minneapolis, MN, USA, and presented by Haus der Kunst.
Major support for the exhibition is provided by the Andy Warhol Foundation for the Visual Arts. Additional support is generously provided by Nelly and Moisés Cosío Espinosa, the Rose Francis Foundation, Gabriela and Ramiro Garza, Eugenio Lopez, Leni and David Moore, Jr., Donna and Jim Pohlad, Mike and Elizabeth Sweeney, and Marge and Irv Weiser.
The exhibition at Haus der Kunst in Munich has been generously supported by Thomas Dane Gallery, London / Regen Projects, Los Angeles / Galerie Chantal Crousel, Paris / kurimanzutto, Mexico City
Daniel Boyd’s paintings re-interpret Aboriginal and Australian-European history. He has been exhibiting his work nationally and internationally since 2005. Recent solo exhibitions include 'History is Made at Night', Artspace, Sydney (2013); 'The Transit of Venus', Tin Sheds Gallery, Sydney (2012); and 'Up in Smoke Tour', Natural History Museum, London (2012). This is his 4th solo exhibition at Roslyn Oxley9 Gallery.
For the 2014 Sydney Festival Boyd has collaborated with the electronic duo Canyons for '100 Million Nights'. Premiere at the Sydney Opera House on Jan 21.
Boyd has been selected for numerous group exhibitions including 'Future Primitive', Heide Museum of Modern Art, Melbourne (2013); 'Under the sun: the Kate Challis RAKA Award', at the Ian Potter Museum of Art, Melbourne (2013); 'Debil Debil', curated by Marcia Langton, at Anna Schwartz Gallery, Sydney (2013); the 7th Asia Pacific Triennial at Queensland Art Gallery | Gallery of Modern Art (2012); 'Crossing Cultures', Hood Museum of Art, Dartmouth, USA (2012); and 'One Caption Hides Another', at Bétonsalon, Paris (2011). In 2014 Boyd’s work will be included in 'Regarding Picasso: Contemporary Artists’ Responses to His Art', at the Museu Picasso, Barcelona.
Daniel Boyd paintings are held by the National Gallery of Australia, Canberra, the Museum of Contemporary Art, Sydney, the National Gallery of Victoria, Melbourne, the Tasmanian Museum and Art Gallery, Hobart, as well as numerous private collections national
For more than four decades, committed to the role of the artist as social activist, Malani is unsparing in her condemnation of a cynical nationalism that exploits the beliefs of the masses. She often bases her work on the stories of those that have been ignored, forgotten or marginalised by history.
One of the pioneers of new media art in the Indian context, Malani’s work has, given her idealism to reach a wider audience, expanded the dimensions of the pictorial surface into surrounding space through ephemeral wall drawings in combination with erasure performances, theatre, shadow play, multi projection works and video/shadow plays. Malani’s intense and committed art reveals her search for the profound certainties of life, of society, of experience-persisting 'evidence', which is encountered and felt.
Speaking on the exhibition, Malani says, “The contents of Cassandra’s Gift are concentrated on the possibility that humankind foresees the events of the future - that he/she really 'listens' to what is happening around. Often this listening is (self) blocked and our (over) communication goes in all directions but is not effective. Instead of experiencing the community, the political world and nature as one organism, we live by economic and military principles of divide and rule.”
After the recent retrospectives of Gerhard Richter, the Kunstmuseum Winterthur presents an exhibition conceived in collaboration with the artist with new works coming directly from his Cologne studio, 'Strip' paintings, large-scale lacquer paintings on glass, and two new glass sculptures.
This is not the first time the Kunstmuseum Winterthur has worked with the artist. In 1999, the museum showed a retrospective of his drawings and watercolors, and it is the only Swiss museum to own a larger group of Richter's works, including paintings, two sculptures, and the most extensive collection of works on paper.
Richter's new 'Strip' paintings feature a plethora of extremely fine lines of color; they are not painted by hand but conceived in a complicated process, determined by chance, and then digitally produced with an inkjet printer. A striking new stage in Richter's development, these paintings are irritating and fascinating, with an austerity that can be intimidating. The first 'Strips' were shown in galleries in 2011-2012; now, he has moved on to composed paintings up to ten meters long that are being shown here for the first time.
A parallel exhibition in the Drawings Cabinet of the Museum:
'Gerhard Richter - From Elbe to November: Works on Paper from the Collection'
This cabinet exhibition offers an alternative perspective on Richter's work. Upon the opening of the exhibition 'Strips', Richter donated an extensive set of 35 previously unknown drawings to the Kunstmuseum.
'Transit 504' is a genuine Internet project. Like a traffic hub, it is a transit terminal conceived to act as a platform for connecting Internet art projects. From here, various existing and future Studer/van den Berg projects will be gradually added as travel destinations. The 3D architecture of the terminal building will never be completed, and it will change like a building that reflects the needs of its users. In this project, the Internet is a time machine, a device for accessing and distributing. It is not meant to celebrate the latest software achievements but aims at collating disparate scenes of the journey, making use of the narrative structures of a hypertext web.
The presentation on display at Nicolas Krupp Gallery marks the starting point of this disposition. The localities are already arranged; their connectivity, however, must remain a future promise. Like the 'Hotel Vue des Alpes', 'Transit 504' is conceived as a large work in progress on the Internet. As opposed to the 'Hotel Vue des Alpes' group of works, which started in the year 2000, and which features a similar topological structure based on representational images, this does not bring to mind the familiar Alpine idyll. Instead, there is a feeling of ennui that comes over someone who has to stay in the limbo of a waiting zone for endless hours - but lacking the option of a chance encounter with a fellow traveller: The setting is the main act, and not a decoration for social interaction in cyberspace.
From Titian to today, war and the aftermath of war has always found its way into art and art history. The year 2014 is of particular significance as it is the centenary year of World War 1. It was a moment that forever changed the geo-?political and economic landscape of the 20th century and had a catalytic effect on India's struggle for Independence.
Even though the conflict happened at a time that predates many of the contemporary artists living and working today, its consequence is undeniable. Conflict in one form or another is a harsh reality of the modern age that touches us all.
Artist Priyanka Choudhary reflects and responds to the nature of war; "It’s a paradox. The monuments to extreme violence are only too peaceful. They are placid lakes. Blind spots. I threw a small stone to ruffle the surface. I performed there to unearth the anxiety and the real memories concealed therein.
The year 2014 contains a huge cemetery - a centenary to the First World War, a performance to bring up the dead. My current works are all apparently peaceful, but they reveal their violence on closer examination. The five performances in five major conflict zones in four different continents - at Tlatelolco, Soweto, Ypres, Ground Zero and Jallianwala Bagh - were only apparently peaceful. People gathered around me forgot to smirk. Peace had been disturbed for the better, I hope.”
In her most recent work, Stuart Hawkins renders scenes of a homogenized, global norm through her reinterpretation of traditional art historical genres. Highlighting consumerism as the common denominator, Hawkins underscores, by mode of comparison, critical aspects of the world we live in today. Landscape, for example, depicts a designer chair in the foreground that appears more organic than the sterile, mountain view and stylized bird in flight beyond. With these works, Hawkins continues to explore her interest in capturing the desires and perversities that drive a mono-culture world and at the same time, making evident their potential cost. The different subjects featured in these works not only engage directly with the title of the exhibition, Everyone Knows What It Looks Like, but tease out the implications of its many truths.
Stuart Hawkins was born in 1969 in Norfolk, VA, received a MFA from The School of Visual Arts and currently lives and works in New York. She has exhibited at the Schirn Kunsthalle Frankfurt; HIAP, Helsinki; Frye Art Museum, Seattle and The Visual Arts Gallery, New. This exhibition, Hawkins' fifth at the gallery, was realized with a 2012 Workspace Residency, made possible by the Lower Manhattan Cultural Council. www.lmcc.net
Die retrospektiv angelegte Ausstellung 'Schlafzimmer und andere Versuchsanordnungen' präsentiert seit Ende der 1990er Jahre entstandene Werkgruppen von Dorothee Golz (*1960 in Mülheim an der Ruhr, lebt und arbeitet in Wien).
Golz, die spätestens seit ihrer Teilnahme an der documenta X internationale Aufmerksamkeit erlangte, ist Bildhauerin, arbeitet jedoch gleichwertig in den Medien Zeichnung und Fotografie, die ebenfalls räumlichem Denken verpflichtet sind. Alle drei Werkkomplexe greifen in der Ausstellung, in der auch neueste Zeichnungen zu sehen sind, ineinander.
Galerie im Taxispalais is presenting a retrospective show by artist Dorothee Golz with the exhibition 'Bedrooms and Other Experimental Arrangements'. The exhibition encompasses groups of work produced since the end of the 1990s as well as her most recent works, which are being presented for the first time.
Golz attracted international attention with her participation at documenta X at the latest; a sculptor, she works equally with the media of drawing and photography, which are based to a similar extent in spatial thinking. The exhibition shows central work complexes in which the artist questions the perception and design of internal and external reality in a humorous, ironic and subtle way. Golz translates her often scientific-analytical approach to ideas into a range of plastic and graphic settings.
Today you find 195960 artists, and 8126 curators in 221877 exhibitions in 12575 venues (resulting in 762940 network edges) from 1880 to present, in 1545 cities in 163 countries, plus 277 professional and private artwork offers.
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