Sep 16 – Nov 25, 2018
Opening: Sep 15, 2018, 5 pm
Haus fuer Kunst Uri, CH-6460 Altdorf
Presentation of their work
Opening: Saturday, September 15th, 2018
Book launch and artists talk eith Barbara Zürcher
This monograph will be puiblished by Wolfsberg Edition, Zuerich
Sunday,November 18th, 2018, 11am
Sep 15 – Oct 28, 2018
Opening: Sep 14, 2018, 6 pm
curators: Massimiliano Madonna and Konrad Tobler
Kunsthalle Palazzo, CH-Liestal
Group show
Jul 17 – Sep 30, 2018
Opening: Jul 16, 2018, 7 pm
Lenbachhaus München (Germany)
Starting in the 1970s, Marcia Hafif (1929–2018) probed the impact of pure color in paintings that eschewed figuration and composition to represent nothing but themselves. This reduction let Hafif undertake an analytical examination of fundamental components of painting such as material, brushwork, surface, and format. Among the works from the KiCo Collection on permanent loan to the Lenbachhaus are more than twenty paintings and drawings from all periods of Hafif’s oeuvre. They have been on view in presentations of art from the collections on several occasions since 2003.
Marcia Hafif: Films (1970–1999) turns the spotlight on a lesser-known aspect of her oeuvre: film and language. After living and working in Rome for several years in the 1960s, the painter returned to her native California, where she made friends in Los Angeles’s experimental arts scene. Exchanging ideas with artists including Robert Irwin, Nancy Buchanan, Chris Burden, and Barbara T. Smith, she branched out into new formats and media: she created sound installations, continued the exploration of photography she had begun in Rome, and shot short sequences on film. Inspired by directors such as Michelangelo Antonioni and Jean-Luc Godard, Hafif then increasingly devoted herself to moving images and produced her two longest works on film: Notes on Bob and Nancy (1970–1977) and India Time (1978).
Jul 14 – Sep 9, 2018
Opening: Jul 13, 2018, 6 pm
Helmhaus Zürich
Group exhibition at the Helmhaus Zürich, curated by Luigi Archetti und Marcel van Eeden.
Together with the department of visual arts of Zurich,
the Helmhaus presents works by artists who applied for
a scholarship concerning specific piece-related grants or a
scholarship providing studio-spaces and have already successfully
passed the first selection round. The scholarships 2018 are given
based on the work presented.
We congratulate Markus Weggenmann on winning the work grant awarded by the city of Zurich!
Jul 14 – Oct 21, 2018
The tectonic arena provides unique insights into the history of the origins of the alpine mountains and valleys. For this reason, it was included in the list of UNESCO world natural heritage in 2008. 2018 the tectonic arena Sardona celebrates its 10th birthday. Under the motto, «TEK TO NIK – 10 years world natural heritage Sardona» different events will be conducted with the goal to present Sardona as diverse as possible. There will be a traveling exhibition taking place at 19 different mountain-huts and 4 outdoor venues where the visitor has to find its way from place to place. A total of 24 different art pieces discuss the alpine formation and the uniqueness of the world natural heritage Sardona.
Patrick Rohner’s contribution can be found at the «Sardona-hut» in the «Calfeisental». You can find a book – «Patrick Rohner – Steinzeichnung» 2018 with texts by Peter Hubacher, Helmut Weissert, Patrick Rohner and a great image section. He additionally installed fourteen stone-drawings on the 4th of June in the area of the Sardona-hut. They will be taken out of process by the end of September and will then be presented at the Finnisage of his exhibition «Entanglement» at the gallery Mark Müller (opening August 24th) in Zurich.
Jul 7 – Oct 28, 2018
Kunstmuseum Luzern
Claude Sandoz and
Annex with Lena Henke, Samuel Herzog, Anna Kanai,
Marie Karlberg, Max Pechstein, Christine Streuli,
Rinus Van De Velde
Jun 29 – Oct 14, 2018
Museum Wiesbaden (Germany)
A Survey Exhibition 1970 – 2018
The artistic issues that I am addressing are interconnected between aesthetic and philosophical questions. First is: the unalienable conditions of the art form itself – do the materials have an integrity in themselves? That is, does the medium present itself as what it is, not trying to represent something. Then – do those materials present an autonomy of their own to act upon us? The first part is primarily carried by the paint medium and its application. The second part presents the reason for the paint medium in the first place. The material function of a paint medium is to carry and bind pigment to a surface. The pigment is revealed to us as color, and that color is the division of light. So, the function of the colored paint medium is to present a surface of divided light. The first question is, then – does the application of the paint medium allow for the full realization of the painted color? Secondly is the philosophical question of the aesthetic function of light itself. Scientifically, we have derived a great deal of our modern knowledge about the universe from our understanding of the wavelengths of light and its color shift. But, what is it about the desire of our eyes to be placed within this dance of light – the dancer to become the dance?
Joseph Marioni, May 2017
Jun 24 – Nov 4, 2018
Kaleidoscope Worpswede – Artwork Landscape Dwelling
Exhibition in the Worpswedian Museums
Große Kunstschau, Barkenhoff,
Haus im Schluh und Worpsweder Kunsthalle
June 24 until November 4, 2018
Many of the Worpswedian artists had the dream to combine art, landscape and life. When the artist colony was founded (1889) they created the »Myth Worpswede«. This gave the village in the Teufelsmoor a new identity that has had a lasting effect even to this day.
In the big communal exhibition »Kaleidoscope Worpswede« the four Worpswedian museums will explore how art has shaped and changed the place. The »Myth Worpswede« is artistically inspected. Post perceptions that have been consolidated for decades about Wopswede will confront new points of views, the attention will be directed towards present and future.
Worpswede and its artworks serve as an example for the exhibition which examines how today’s art changes our look at reality and how it can open new perspectives. The questions the exhibition is asking and the answers given will be surprising, illuminative and sometimes vexing. The town Worpswede and its art will be experienced anew.
May 26
Opening: May 26, 2018, 7 pm
die grosse um_ordnung
eine politische kunstaktion gegen sexismus, rassismus, behindertenfeindlichkeit…
die grosse um_ordnung [the great restructuring] is a political art action opposing sexism, racism, discrimination of the disabled…, which newly construes the existing structures of power relations on a symbolic level. At Helvetiaplatz, which traditionally is the starting point for demonstrations in the city of Zurich, performances show how things can function in a different way: in the actions of the choreographers, artists, and activists-niv Acosta with Swiss blacks and the collaboration of the performance artist Simone Aughterlony with young queer persons-, the body becomes a political instrument that challenges existing structures of power.
more informations: www.diegrosseumordnung.ch
Feb 24, 2018 – Jan 6, 2019
Opening: Feb 23, 2018, 6 – 8 pm
Group exhibition
In 2018 the Kunstmuseum Luzern will be transformed into a menagerie! Horses, cows and goats, lions and tigers, eagles and capercaillie cocks, but also centaurs, dinosaurs and dragons will populate the museum rooms—in paintings and drawings, photographs and sculptures.
The Kunstmuseum Luzern has countless works depicting our animal relatives. So the 2018 Collection Presentation is devoted to the relationship between man and animal, which is often close, but not always simple. How are animals depicted in art and what does this say about our understanding of them? What role do they play in our technological and digital society? Is our treatment of them as pampered pets or mere food species-appropriate? What are the alternatives for a different relationship between living creatures in the future? Both the Collection Presentation and the publication, plus a rich fringe programme of readings, panel discussions and special guided tours, will focus on this and other issues.
Feb 16, 2018 – Jan 6, 2019
Solo exhibition at The National Gallery, Prague
curated by Adam Budak
The German artist Katharina Grosse has prepared a large-scale painting installation in the Great Hall that directly reacts to the industrial space of the gallery built in the Functionalist style in the late 1920s. The exhibition is an architectural painting, a spatial image, in which viewers find their niche using their own bodies and minds.
Katharina Grosse is also creating an artistic intervention on the boundary between architecture and the natural setting outside the gallery. Her often huge, site-specific structures in interiors (institutional space) and exteriors (public space), which frequently integrate organic matter (trees, stones, soil, etc.) are hybrids that cross the dividing line between nature and culture.
Feb 2, 2018 – Apr 29, 2019
Katharina Grosse & Tatiana Trouvé
French Academy in Rome – Villa Medici, Rome
curated by Chiara Parisi
This is the fourth and last exhibition in the UNE cycle, originated by Muriel Mayette-Holtz and curated by Chiara Parisi. UNE is an ambitious project which, through artistic, intercultural and generational confrontation, has given rise to surprising collaborations and interconnections, providing a contemporary vision of the French Academy in Rome.
Starting from positions and styles seemingly very far apart, Katharina Grosse and Tatiana Trouvé have also created an unprecedented and unexpected dialogue for this cycle. Thanks to their respective projects, different but complicit and complementary, the two artists both born in the 1960s have shaken up the limits of space at the Villa Medici.
Jan 24 – Aug 26, 2018
Caro Niederer invited Sabian Baumann
in the unusual exhibition project Good Life Ceramics by Caro Niederer at the Kunstmuseum St. Gallen will develop in a special setting that will change systematically over the course of the exhibition. The exhibition will take place on the lower floor of the museum, whose architecture has remained unchanged since the Naturmuseum St. Gallen moved to a new building. The rooms are thus the site of a work in progress that will extend across the entire lower floor of the building in stages.
Nov 26, 2017 – Nov 26, 2018
The new presentation of the collection, Kunstmuseum Bonn, Bonn (D)
This will be the fifth time since 2008 that the collection is newly hung. The visitor will see old and new faces, classic paintings by Macke, Beuys or Polke, crossing paths with new donations and acquisitions.
Sep 20, 2017 – Dec 31, 2018
Joachim Bandau
«Der Späher», 1974
Exhibition new acquisitions
Contemporary Collections
Centre Pompidou, Paris
Sep 9, 2017 – Aug 30, 2018
Group show at Art Gallery NSW, Sydney, Australia (AUS)
Despite routine declarations of its decline, abstract painting is an urgent and vital mode of artmaking that seems to exist in a state of constant reinvention.
This display of contemporary abstract paintings from the Gallery’s collection focuses on unconventional and experimental approaches to the age-old discipline of painting.
The exhibition includes artworks by Daniel Buren, Morris Louis, Judy Millar, Dona Nelson and Sigmar Polke among many others.