Category Archives: Shows

Art Safiental 2020

For the third time since its inception in 2016, international artists will create temporary works in dialogue with landscape and nature. These artworks will be freely accessible (and presented free of charge) throughout the Safien Valley. The on-site artistic works result from a dialogue with nature and environment. Created in the spirit of a transdisciplinary practice, they are concerned with questioning, exploring and revising the historical term Land Art. They might also be seen as potential proposals for Land Art of the future which integrates landscape, nature, environment, history and society. In other words, the created works reimagine Land Art as a practice that consolidates the environmental, historical and societal aspects. The 2020 thematic focus is: ANALOG – DIGITAL.

Biennale Bregaglia 2020

Ein Kunstprojekt rund um die Kirche Nossa Dona und der Talsperre Lan Müraia.

Dieser geschichtsträchtige Ort – in der Mitte des Bergells gelegen – ist seit jeher ein wichtiges Transitgebiet, an dem architektonische, archäologische, kulturhistorische, sprachliche und klimatische Stränge zusammenkommen, die tief in die Vergangenheit reichen, aber auch aktuelle und in die Zukunft gerichtete Themen enthalten.

In ihrer Arbeit an speziell für die BIENNALE BREGAGLIA 2020 konzipierten Werken setzen sich die ausgewählten Künstler*innen mit den Besonderheiten des Territoriums und seiner Geschichte auseinander. Ihre Werke drängen sich der Architektur und Landschaft nicht auf, sondern lassen den Charakter und die Eigenheiten dieser Orte hervortreten. Das Potenzial des Ortes wird genutzt, ohne sie zu verzerren oder zu überformen.

Ziel der Ausstellung ist es, einen vielschichtigen Dialog zu schaffen: Es wurden Künstler*innen ausgewählt, deren Arbeiten vom wesentlichen Thema des Mensch-Seins inspiriert sind und deren Werke befragen, wie sich das Mensch-Sein in Geschichte, Natur, Landschaft, Wissenschaft und Sprache spiegelt.

Warhol to Richter.

Warhol bis Richter presents artworks created from the second half of the 20th century to the present. Around 80 works by artists including Anselm Kiefer, Gerhard Richter, Gottfried Helnwein, Andy Warhol, Alex Katz, Katharina Grosse and Maria Lassnig represent the broad diversity of post-1945 artistic stances.

Key works illustrate international trends running from hyperrealism to abstraction and from color-aesthetic to political themes, thereby exemplifying the multifaceted artistic output of the past several decades.

Gérard Traquandi & la Donation Albers-Honegger

Artists : Josef Albers, Jean-Pierre Bertrand, Eduardo Chillida, herman de vries, Helmut Federle, Marcia Hafif, Gottfried Honegger, Imi Knoebel, František Kupka, John McCracken, Henri Michaux, Olivier Mosset, Aurelie Nemours, Ulrich Rückriem, Gottlieb Soland, Niele Toroni, Gérard Traquandi, Adrian Schiess, Marcel Wyss.

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.

Lange Arme, kurze Beine

The extensive body of work of Swiss artist Christine Streuli (*1975, in Berne) appeals to viewers with colourful, mostly monumental allover paintings, which draw on a rich vocabulary of symbols, quotes, patterns, motifs and ornaments. The vividly coloured and energetic works and installations attract the audience, but also raise important, contemporary questions about nature and the craft of painting, as well as the examination of the flood of images surrounding us all.

Christine Streuli: Lange Arme, Kurze Beine / Kunstmuseum Thun

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.

WHEN THE SICK RULE THE WORLD

WHEN THE SICK RULE THE WORLD

Gruppenausstellung mit Sabian Baumann, Jesse Darling, Demian DinéYazhi‘, Eva Egermann, Magdalena Fischer, Justin Fitzpatrick, Carolyn Lazard, Park McArthur, Annie Sprinkle and Beth Stephens, Patrick Staff, Sunaura Taylor, Romily Alice Walden, What Would an HIV Doula Do? und Triple Canopy, und Constantina Zavitsanos

Krankheit ist niemals neutral. Behandlung niemals nicht ideologisch. Sterblichkeit niemals ohne eigene Politiken.
(Anne Boyer, The Undying, 2019)

Die Gruppenausstellung When the Sick Rule the World vereint die Praktiken von vierzehn Künstler*innen und einem Kollektiv, die die vorherrschenden Konzepte von Gesundheit, Produktivität und Fähigkeit (eng. ability) destabilisieren. Die Ausstellung entlehnt ihren Titel einem Essay aus der gleichnamigen Prosasammlung der Autorin Dodie Bellamy aus dem Jahr 2015. Der Text zelebriert all diejenigen als Hoffnungsträger*innen, die innerhalb eines ruinösen Systems der Effizienz als krank, schwach, unproduktiv und damit auch als weniger wert eingestuft werden.

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.

Heike Kati Barath_Ohne Titel_2016

Feelings

100 paintings, objects, and films from around 40 international contemporary artists invite us to intuitively approach art from an emotional perspective.
The exhibition features contributions from the following artists:
Hans Aichinger, Jan Albers, Monika Baer, Heike Kati Barath, Vlassis Caniaris, Gregory Crewdson, Alex Da Corte, Nathalie Djurberg und Hans Berg, Drei Hamburger Frauen, Marlene Dumas, Elmgreen & Dragset, Tracey Emin, Gotthard Graubner, Wade Guyton, Thilo Jenssen, Nikita Kadan, Tadeusz Kantor, Ruprecht von Kaufmann, Mike Kelley und Paul McCarthy, Jochen Klein, Rosa Loy, Rosilene Luduvico, Stephan Melzl, Olaf Metzel, Robert Morris, Miwa Ogasawara, Catherine Opie, Laura Owens, Beate Passow, Richard Prince, Bernhard Prinz, Alexandra Ranner, Wilhelm Sasnal, Markus Schinwald, Norbert Schwontkowski, Cindy Sherman, Sam Taylor Johnson, Rosemarie Trockel, Gillian Wearing, Amelie von Wulffen and Artur Zmijewski.

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.

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

3. Quartal 2020 bis 1. Quartal 2021

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.