Category Archives: News

Die Nichtschönen – Works from 1967-1974

At once technoid and bodily, minimal and monstrous, often with spouts or hoses that resemble weirdly organic orifices and tentacles, the early sculptural works by Joachim Bandau (* 1936) remain as strange and singular today as when he first made them. An overview of the artist’s still relatively little-known sculptures and related drawings from the period 1967-1974 will be on view.

ZENTRAL !

Why be regional or cantonal when you can be central! The Jahresausstellung Zentralschweizer Kunstschaffen is therefore being given a makeover: As of 2020 it will be called zentral!. As until now zentral will present current works from the region in the region, selected by a supra-regional jury. Then in a globalised and networked world, where we come from and what is happening around us is also of central importance.

Zentral! is a platform with charisma and tradition, a regional cosmos full of national and international branches. What is more, it is a talent pool. During the vernissage, the exhibition prize of the Kunstgesellschaft will also be presented, along with the jury prize / Preis der Zentralschweizer Kantone. The following year the winner of the Kunstgesellschaft prize will mount the Kabinett Exhibition at the Kunstmuseum Luzern.

Focus under 40

Since more than 100 years, the December exhibition has been the highly appreciated platform for artists from the city and region of Winterthur. Every two years a jury of experts puts together a representative exhibition from numerous applications at the Kunst Museum Winterthur and the Kunsthalle Winterthur, providing an overview of the diversity of contemporary art in and from Winterthur. In addition, the exhibition, which is organised by the two institutions in cooperation with the Winterthur Artists’ Collective, also offers an opportunity for mutual exchange and a large party to celebrate the opening. Alternating with the curated exhibition, the so-called Focus exhibition takes place the following year at the Kunstmuseum Winterthur. This exhibition also concentrates entirely on works by Winterthur artists. The selection of artists, however, is not made on the basis of an application with a portfolio, but on invitation by curators of the Kunst Museum Winterthur. This will be the case again in 2020. Also in this exhibition, the goal is to enable unusual perspectives on the regional art scene and to put the work of selected artists up for broad discussion. In contrast to the judged December exhibition, the Focus exhibitions are designed to accommodate larger work groups of artists and to offer the opportunity for on-site installations.

Ein Bild schreit nach dem nächsten!

Der in Zürich und Cumbel/Lumnezia lebende Künstler Markus Weggenmann (*1953) hatte 2010 im Kunstmuseum Appenzell an der wegweisenden Ausstellung «Farbe ǀ Wasser – Colour ǀ Water» teilgenommen. Seitdem bestand der Wunsch, mit diesem Maler eine umfassendere Werkschau einzurichten. Nun kann im Kunstmuseum endlich eine retrospektiv angelegte Ausstellung gezeigt werden.

In den 10 Räumen des Kunstmuseums werden alle bedeutenden Werkgruppen von Markus Weggenmann vorgestellt. Ausgehend von den frühesten Werken, den «Bagatellen» aus den 1970er und 1980er Jahren, die noch neben der damals ausgeübten Tätigkeit als Ergotherapeut entstanden, bilden im Rundgang die «Streifenbilder», die «Boulevards», die hochglänzenden «Autolackbilder», die Gouachen und die seit den 2010er Jahren entstehenden hochpigmentieren Leimfarbenbilder eigens für die besondere Architektur des Museums inszenierte Schwerpunkte. Der Rundgang wird mit einer grossformatigen Wandmalerei beendet, die für den Ort geschaffen wird.

Der Künstler, der früh zum Umfeld der «Radikalen Malerei» gezählt wurde, formuliert seit den 1980er Jahren eine Farbmalerei, die sich – glücklicherweise – weder einer der gerade geltenden Moden oder Dogmen, noch den grossen Begriffen von Realismus oder Abstraktion zuordnen lässt. Im Vertrauen auf die Eigengesetzlichkeiten und die Wirkungsvielfalt der «gemalten Farbe» konzentriert sich der Künstler auf grundlegende Fragen wie: Ab wann wird Farbe zum Bild? Wie kann Farbe Raum und Plastizität schaffen? Kann Farbmalerei ohne Autor existieren?

Trotz der weiten Spannweite des handwerklichen und ästhetischen Zugangs lässt sich aber – und das zeigt die Ausstellung eindrücklich – eine Konstante der Bildarbeit bzw. Farbarbeit Weggenmanns feststellen: Jedes seiner Werke ist nicht nur ein autonomes Kunstwerk, sondern zugleich eine massive, ortsverändernde Intervention im jeweiligen Raum. Dies mag der semantischen Offenheit der Arbeiten zu verdanken sein, die heterogenste Assoziationsräume öffnen – ist aber viel unmittelbarer eine Folge der äusserst sinnlichen Gegenwärtigkeit von Farbphänomenen, die jeglichen Sprachraum, jede verbale Beschreibung transzendieren.

Milléniales. Peintures 2000 – 2020

Millennials. Paintings 2000-2020” is an exhibition presenting a set of works which, without claiming to be exhaustive, is representative of the most significant developments in painting over the past twenty years. The works exhibited are the work of artists of all generations. The “millennials” in question here are the paintings on display, all made since the transition to the year 2000

It Never Ends – John M Armleder & Guests

It Never Ends is a multi-dimensional artistic project that is vital and in constant movement. It is certainly the most important challenge that Armleder has been invited to conceive to date and presents a paradox; it is a personal exhibition, but at the same time one that invites the works of more than a hundred artists; a vast art exhibition, many of which are fleeting, and sometimes even invisible. It may give the impression of being like the ideal museum, but it is above all an experimental, interdisciplinary and polyphonic project. It is, in short, a ‘Chinese Portrait’ of the person who conceived it, for whom notions of hospitality, collaboration and friendships have always played a key role.

Push the Limits

A group show with works by: Rosa Barba,Sophie Calle, Katharina Grosse, Shilpa Gupta, Mona Hatoum, Jenny Holzer, Emily Jacir, Bouchra Khalili, Barbara Kruger, Cinthia Marcelle, Shirin Neshat, Maria Papadimitriou, Pamela Rosenkranz, Chiharu Shiota, Fiona Tan, Carrie Mae Weems, Sue Williamson

Drawing the City

Paper-Based Works from 1945 to the Present.

A fascination with the modern city experienced by artists from all over the world has always been a vibrant, finger-on-pulse theme in the art produced in Berlin since 1945.

Katharina Grosse, I Think This Is a Pine Tree, 2013, exhibiton view „Wall Works“, detail, Hamburger Bahnhof, 2013 © Staatliche Museen zu Berlin, Nationalgalerie / Thomas Bruns / VG Bild-Kunst / Bonn 2019

It Wasn’t Us

With her spectacular site-specific paintings that she fabricates with air guns and vibrant acrylic paints, Katharina Grosse (born 1961 in Freiburg) assumes a central position in contemporary art. Her large-scale works present themselves as pulsating, three-dimensional visual worlds that incorporate the walls, ceiling and floor of the exhibition space.

Everything becomes the canvas for these paintings and is seized by a vibrating charge of colour that disrupts our typical conception of reality and opens up previously unimagined spheres of possibility. Grosse’s works, which the viewer can walk through, are produced in interior and exterior spaces, and reflect upon our interaction with institutional and urban spaces. In 2020, the artist will use the historical hall of the Hamburger Bahnhof along with sections of the museum’s grounds for a new work that incorporates sculptural elements and radically destabilises and renegotiates the existing order of the space of the museum.

31: Women

31: Women, the Daimler Art Collection’s new Berlin show, references two groundbreaking presentations held at Peggy Guggenheim’s New York gallery Art of This Century, the Exhibition by 31 Women, 1943, and The Women, 1945. Initiator and co-curator was Guggenheim’s friend and advisor, the artist Marcel Duchamp. These were the first exhibitions in the United States that focused, to this extent, exclusively on women artists. The women represented a young generation, from eleven different countries. In terms of content, representatives of Surrealism found themselves alongside abstract painters, Dada-influenced artists and previously unknown new trends.

Is it you?

Is it You?

German artist Katharina Grosse’s exuberant large-scale, in-situ paintings explore how and where a painted image can appear in our lives. Often painted directly onto and across architectural structures and objects or into landscapes, her extraordinary, colorful works invite visitors to engage with painting on both a visual and a physical level.

For this exhibition at the BMA, the internationally acclaimed artist presents five recent paintings and creates a new site-related environment, Is It You? The immersive installation transforms the central gallery in the Contemporary Wing by suspending spraypainted cloth from the ceiling, extending it across the floor, and creating an enveloping “room” with undulating walls.

The presentation of paintings closes January 3, 2021; the installation Is It You? remains on view through September 19, 2021.

Oliver Mosset

Olivier Mosset (b.1944) is one of the central figures in post-war abstract painting, and a pivotal reference for generations of European and American painters. Associated with Daniel Buren, Michel Parmentier, and Niele Toroni, he was a member of the ephemeral B.M.P.T. “group.” His extensive series of circle paintings, executed in the late 1960s and early 1970s, is among the most widely discussed works of that era.

At the same time, several rooms are devoted to movements and artists with whom Mosset was or remains closely associated, allowing us to consider his work in a variety of different contexts. In addition to a section devoted to the activities led with Buren, Parmentier, and Toroni, the exhibition features works by Nouveaux Réalistes

(notably Jean Tinguely and Daniel Spoerri, for whom Mosset worked as an assistant), experimental film-makers’ collective Zanzibar (with whom Mosset directed, acted in and produced a number of films), American “Radical painting” of the 1970s and 1980s (including Marcia Hafif and Joseph Marioni) and artists such as Sherrie Levine, Steven Parrino, Cady Noland, John Armleder, and Sylvie Fleury, with whom he has maintained a regular dialogue.

The Way We Are 2.0

The Way We Are 2.0 brings together on 2,500 square metres more than 180 works from more than 100 artists from various times and contexts in a wide-ranging investigation of content and form. Thematic spaces arise from such perspectives as artistic approaches to identity or traditions of landscape, a varied play with everyday life or aspects of urban life, the meaning of coincidence or of the body, minimalist tendencies or social resistance.

Writing the History of the Future (The ZKM Collection)

The collection of the ZKM | Karlsruhe is one of the largest media art collections in the world. It exemplifies the transformation of art in the face of changing production, reception and distribution technologies. Artists react to the change in the media and sometimes anticipate developments that will become self-evident for society as a whole only years later: they are the story of the future.

Dezember-Ausstellung Focus

The traditional December exhibition is the highly acclaimed platform for art production from the city and region of Winterthur. For a month, artists gather for an artistic rendezvous and mutual exchange. Biennially a large overview exhibition takes place at the Kunst Museum Winterthur in cooperation with the artists’ organization Künstlergruppe and the Kunsthalle Winterthur. The biennial exhibition alternates with an individual show at the Kunst Museum Winterthur, as will take place in 2018. This exhibition intends to offer new perspectives on the regional art scene, concomitantly investigating the work of selected artists. The curators work with the artists invited to create a concise group of works for the show. As a result, the December exhibition at the Kunst Museum Winterthur provides not only a sight onto the work of local artists, but also into it.

Art 35 Basel

Art 35 Basel Unlimited

Art 34 Basel

Art 33 Basel

Art 32 Basel

Art Cologne 2000

Art Cologne 1999

Art 30 Basel

Art Cologne 1998

Art 29 Basel

FIAC Paris 1997

Art 28 Basel

Art 27 Basel

Art Cologne 1995

Art 26 Basel

Art Cologne 1994

Art 25 Basel

Aufsetzpunkt

published by modo Verlag on the occasion of the exhibition at Kunst(Zeug)Haus, Rapperswil-Jona from April 7 until June 19, 2011.
with essays by Invar-Torre Hollhaus and Daniela Hardmeier.

 

The Archive in the Worm

Verlag für Moderne Kunst, with essays by Andrés Duprat, Carl Friedrich Schröer and Raimund Stecker.
Published on the occasion of the eightpart transcontinental exhibition in Argentina, Germany and Switzerland.
«Martín Mele lives in a foreign land, it’s uncertain how foreign, how distant or familiar it is. For he has lived abroad for some time, actually forever. …»

Four Honest Outlaws – Sala Ray Marioni Gordon

published by Michael Fried for the Yale University Press
In this strongly argued and characteristically original book, Michael Fried considers the work of four contemporary artists: video artist and photographer Anri Sala, sculptor Charles Ray, painter Joseph Marioni, and video artist and intervener in movies Douglas Gordon.
«Four Honest Outlaws» takes its title from a line in a Bob Dylan song, «To live outside the law you must be honest», meaning in this case that each of the four artists has found his own unsanctioned path to extraordinary accomplishment, in part by defying the ordinary norms and expectations of the contemporary art world.
Michael Fried will moderate a symposium «PAINTING NOW: A discussion taking off from the work of Joseph Marioni»,
The Phillips Collection, Washington, DC (USA), December 10, 2011