Jan 29 – Apr 18, 2021
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.
Oct 25, 2020 – Apr 11, 2021
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.
Sep 25, 2020 – Jan 3, 2021
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
Sep 24, 2020 – Apr 25, 2021
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.
Sep 7, 2020 – Jan 31, 2021
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
Sep 6 – Oct 31, 2020
„Die Wut gilt in den meisten Kulturen als verwerflich und ist gesellschaftlich nicht akzeptiert. Sie entspricht nicht dem erwarteten Sozialverhalten. Dennoch hilft sie in vielen Fällen, den Willen durchzusetzen.“ (Wikipedia)
Zu dieser Ausstellung hat die Berliner Künstlerin Gunilla Jähnichen fünf Kolleginnen eingeladen, ihre Arbeiten in Beziehung zum Titel zu setzen. „Wut“ ist dabei als Apell zu verstehen, diese hoch aktuelle und viel benutzte Kategorie menschlicher Gefühlsregung von den „Wutbürgern“ und Hassrednern in den sozialen Medien zurückzuerobern und aktiv einzusetzen, um Freiräume zu schaffen. Die „Wut“ steht im Kontext der Ausstellung beispielhaft für gesellschaftlich verpönte Emotionen, deren Kraft zur Veränderung hier untersucht werden soll.
Aug 14, 2020 – Jan 4, 2021
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.
Jul 18 – Nov 1, 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.
Jun 18 – Nov 8, 2020
Jeder neue Tag hat zwei Griffe.
Wir können ihn am Griff der Ängstlichkeit oder am Griff der Zuversicht halten.
(H. Beecher, 1813-1887)
Jun 14, 2020 – Jan 10, 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.
Mar 7, 2020 – May 7, 2021
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.
Mar 1, 2020 – Jan 3, 2021
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.
Feb 25 – Dec 6, 2020
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.
Feb 15, 2020 – Jan 10, 2021
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.
Feb 23, 2019 – Mar 28, 2021
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.