Download Press Release

Total Page:16

File Type:pdf, Size:1020Kb

Download Press Release THE MAYOR GALLERY 21 Cork Street, First Floor, London W1S 3LZ T +44 (0) 20 7734 3558 F +44 (0) 20 7494 1377 www.mayorgallery.com PRESS RELEASE For immediate release KLAUS STAUDT LIGHT AND TRANSCENDENCE 15 APR - 29 MAY 2015 Diagonal 1992 Acrylic, wood and plexiglas 76.5 x 76.5 x 7.5 cm 30 1/8 x 30 1/8 x 3 inches The Frankfurt based artist Klaus Staudt (b. 1932 Ottendorf am Main, Germany) has been one of the leading exponents of Constructive and Concrete art in Germany since the 1960s, together with participating in the avant-garde New Tendencies movement. After originally studying Medicine, Staudt changed direction radically after a visit to Documenta II in 1959 and enrolled at The Academy of Fine Arts in Munich. It was there he met Gerhard Von Graevenitz and together with Jürgen Morschell they founded Galerie Nota in 1960, exhibiting François Morellet, Otto Piene and Heinz Mack from the parallel ZERO group. Employed with the concepts of light, shade, space and movement, Staudt creates complex grid structures that are formed essentially through the addition of individual identical elements resulting in three- dimensional spatial structures. Comprehensively using the colour white, Staudt employs light and shade to give dimension to the work; bold primary colours are then introduced with striking effect. The regular and rational geometric forms, often of wood and Plexiglas, are tempered with an organic movement allowing the work to develop a momentum of its own through the viewers own experience, awakening a sensory awareness that cannot be explained rationally. With the visual effect varying depending on how these elements are placed in the respective grid structure, his innovative and exhaustive exploration of the system’s possibilities are virtually endless. Visitor information: Press enquiries: Mon-Fri 10am-5.30pm; Admission: Free Amy Baker at The Mayor Gallery Nearest Tube Station Green Park or Piccadilly Circus [email protected].
Recommended publications
  • Painting and Sculpture from Classical Modernism to the Present Day
    Opening Exhibition 23 May 2015 – 9 October 2016 Painting and Sculpture From Classical Modernism to the Present Day KUNSTMUSEUM LIECHTENSTEIN Dear Visitors, The Hilti Art Foundation annexe rings in a new era in the fifteenth year of Kunstmuseum Liechtenstein. The new exhibition building of the Hilti Art Foundation opens its doors to public on 23 May 2015. For Kunstmuseum Liechtenstein this means a substantial and lasting consolidation of the previous collaboration that has been in place with the Hilti Art Foundation since its foundation in 2000. Our thanks are due in particular to Michael Hilti, one of the key figures responsible for initiating Kunstmuseum Liechtenstein. A visible symbol of this bond is reflected in the design of the new building by the Basel-based architects Morger + Dettli, who designed the upright white cube as a counterpart to the horizontal black cube of the Kunstmuseum. The accord that exists between the two buildings both inside and out lends form to the sense of both togetherness and independence. Loans in special exhibitions, but particularly the large exhibition of the Hilti Art Foundation in 2005, gave visitors an impressive first glimpse of this private art collection comprising works from the late 19th century to the present. We very much look forward to the future permanent presence of this extra ordinary collection. The emphasis of the Hilti Art Foundation collection is the ideal complement to the state collection of Kunstmuseum Liechtenstein. A long-standing wish has thus been realised, that is, to showcase to the public threads of development in the history of art from the pioneers of modernism to our present day.
    [Show full text]
  • Art in Europe 1945 — 1968 the Continent That the EU Does Not Know
    Art in Europe 1945 Art in — 1968 The Continent EU Does that the Not Know 1968 The The Continent that the EU Does Not Know Art in Europe 1945 — 1968 Supplement to the exhibition catalogue Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Phase 1: Phase 2: Phase 3: Trauma and Remembrance Abstraction The Crisis of Easel Painting Trauma and Remembrance Art Informel and Tachism – Material Painting – 33 Gestures of Abstraction The Painting as an Object 43 49 The Cold War 39 Arte Povera as an Artistic Guerilla Tactic 53 Phase 6: Phase 7: Phase 8: New Visions and Tendencies New Forms of Interactivity Action Art Kinetic, Optical, and Light Art – The Audience as Performer The Artist as Performer The Reality of Movement, 101 105 the Viewer, and Light 73 New Visions 81 Neo-Constructivism 85 New Tendencies 89 Cybernetics and Computer Art – From Design to Programming 94 Visionary Architecture 97 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Introduction Praga Magica PETER WEIBEL MICHAEL BIELICKY 5 29 Phase 4: Phase 5: The Destruction of the From Representation Means of Representation to Reality The Destruction of the Means Nouveau Réalisme – of Representation A Dialog with the Real Things 57 61 Pop Art in the East and West 68 Phase 9: Phase 10: Conceptual Art Media Art The Concept of Image as From Space-based Concept Script to Time-based Imagery 115 121 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know ZKM_Atria 1+2 October 22, 2016 – January 29, 2017 4 At the initiative of the State Museum Exhibition Introduction Center ROSIZO and the Pushkin State Museum of Fine Arts in Moscow, the institutions of the Center for Fine Arts Brussels (BOZAR), the Pushkin Museum, and ROSIZIO planned and organized the major exhibition Art in Europe 1945–1968 in collaboration with the ZKM | Center for Art and Media Karlsruhe.
    [Show full text]
  • ZERO ERA Mack and His Artist Friends
    PRESS RELEASE: for immediate publication ZERO ERA Mack and his artist friends 5th September until 31st October 2014 left: Heinz Mack, Dynamische Struktur schwarz-weiß, resin on canvas, 1961, 130 x 110 cm right: Otto Piene, Es brennt, Öl, oil, fire and smoke on linen, 1966, 79,6 x 99,8 cm Beck & Eggeling presents at the start of the autumn season the exhibition „ZERO ERA. Mack and his artist friends“ - works from the Zero movement from 1957 until 1966. The opening will take place on Friday, 5th September 2014 at 6 pm at Bilker Strasse 5 and 4-6 in Duesseldorf, on the occasion of the gallery weekend 'DC Open 2014'. Heinz Mack will be present. After ten years of intense and successful cooperation between the gallery and Heinz Mack, culminating in the monumental installation project „The Sky Over Nine Columns“ in Venice, the artist now opens up his private archives exclusively for Beck & Eggeling. This presents the opportunity to delve into the ZERO period, with a focus on the oeuvre of Heinz Mack and his relationship with his artist friends of this movement. Important artworks as well as documents, photographs, designs for invitations and letters bear testimony to the radical and vanguard ideas of this period. To the circle of Heinz Mack's artist friends belong founding members Otto Piene and Günther Uecker, as well as the artists Bernard Aubertin, Hermann Bartels, Enrico Castellani, Piero BECK & EGGELING BILKER STRASSE 5 | D 40213 DÜSSELDORF | T +49 211 49 15 890 | [email protected] Dorazio, Lucio Fontana, Hermann Goepfert, Gotthard Graubner, Oskar Holweck, Yves Klein, Yayoi Kusama, Walter Leblanc, Piero Manzoni, Almir da Silva Mavignier, Christian Megert, George Rickey, Jan Schoonhoven, Jesús Rafael Soto, Jean Tinguely and Jef Verheyen, who will also be represented in this exhibition.
    [Show full text]
  • Otto Piene: Lichtballett
    Otto Piene: Lichtballett a complete rewiring of the piece, removal of surface damage and dents, and team of artists for documenta 6, was later exhibited on the National Mall in replacement of the light fixtures and bulbs to exact specifications. Washington, DC. For the closing ceremony of the 1972 Munich Olympics, The MIT List Visual Arts Center is pleased to present an exhibition of the Piene created Olympic Rainbow, a “sky art” piece comprised of five helium- light-based sculptural work of Otto Piene (b. 1928, Bad Laasphe, Germany). The exhibition also showcases several other significant early works filled tubes that flew over the stadium. Piene received the Sculpture Prize Piene is a pioneering figure in multimedia and technology-based art. alongside new sculptures. The two interior lamps of Light Ballet on Wheels of the American Academy of Arts and Letters in 1996. He lives and works in Known for his smoke and fire paintings and environmental “sky art,” Piene (1965) continuously project light through a revolving disk. The sculpture Groton, Massachusetts, and Düsseldorf, Germany. formed the influential Düsseldorf-based Group Zero with Heinz Mack in Electric Anaconda (1965) is composed of seven black globes of decreasing the late 1950s. Zero included artists such as Piero Manzoni, Yves Klein, Jean diameter stacked in a column, the light climbing up until completely lit. Tinguely, and Lucio Fontana. Piene was the first fellow of the MIT Center Piene’s new works produced specifically for the exhibition, Lichtballett for Advanced Visual Studies (CAVS) in 1968, succeeding its founder György (2011), a site-specific wall sculpture, and One Cubic Meter of Light Black Kepes as director until retiring in 1994.
    [Show full text]
  • Kusama 2 1 Zero Gutai Kusama
    ZERO GUTAI KUSAMA 2 1 ZERO GUTAI KUSAMA VIEWING Bonhams 101 New Bond Street London, W1S 1SR Sunday 11 October 11.00 - 17.00 Monday 12 October 9.00 - 18.00 Tuesday 13 October 9.00 - 18.00 Wednesday 14 October 9.00 - 18.00 Thursday 15 October 9.00 - 18.00 Friday 16 October 9.00 - 18.00 Monday 19 October 9.00 - 17.00 Tuesday 20 October 9.00 - 17.00 EXHIBITION CATALOGUE £25.00 ENQUIRIES Ralph Taylor +44 (0) 20 7447 7403 [email protected] Giacomo Balsamo +44 (0) 20 7468 5837 [email protected] PRESS ENQUIRIES +44 (0) 20 7468 5871 [email protected] 2 1 INTRODUCTION The history of art in the 20th Century is punctuated by moments of pure inspiration, moments where the traditions of artistic practice shifted on their foundations for ever. The 1960s were rife with such moments and as such it is with pleasure that we are able to showcase the collision of three such bodies of energy in one setting for the first time since their inception anywhere in the world with ‘ZERO Gutai Kusama’. The ZERO and Gutai Groups have undergone a radical reappraisal over the past six years largely as a result of recent exhibitions at the New York Guggenheim Museum, Berlin Martin Gropius Bau and Amsterdam Stedelijk Museum amongst others. This escalation of interest is entirely understandable coming at a time where experts and collectors alike look to the influences behind the rapacious creativity we are seeing in the Contemporary Art World right now and in light of a consistently strong appetite for seminal works.
    [Show full text]
  • Downloaded Or Projected for Classroom Use
    ZERO COUNTDOWN TO TOMORROW, 1950s–60s OCTOBER 10, 2014–JanuaRY 7, 2015 ZERO COUNTDOWN TO TOMORROW, 1950s–60s Solomon R. Guggenheim Museum Teacher Resource Unit A NOTE TO TEACHERS ZERO: Countdown to Tomorrow, 1950s–60s, is the first large-scale historical survey in the UnitedS tates dedicated to the German artists’ group Zero (1957–66), founded by Heinz Mack and Otto Piene and joined in 1961 by Günther Uecker, and ZERO, an international network of like-minded artists from Europe, Japan, and North and South America who shared the original group’s aspiration to transform and redefine art in the aftermath of World War II. Featuring more than 40 artists from 10 countries, the exhibition is organized around these diverse artists’ shared interests. Themes include new definitions of painting (for instance, the use of monochrome and serial structures); movement and light; space as subject and material; and the relationship between nature, technology, and humankind. This Resource Unit focuses on various aspects of ZERO art and provides techniques for exploring both the visual arts and other areas of the curriculum. This guide also is available on the museum’s website at guggenheim.org/artscurriculum with images that can be downloaded or projected for classroom use. The images may be used for educational purposes only and are not licensed for commercial applications of any kind. Before bringing your class to the Guggenheim, we invite you to visit the exhibition, read this guide, browse our website, and decide which aspects of the exhibition are most relevant to your students. For more information on scheduling a visit for your students, please call 212 423 3637.
    [Show full text]
  • Press Release April 2021 Carla Accardi Et Dadamaino, Between
    Carla Accardi and Dadamaino, 1987. ©Giorgio Colombo Press release April 2021 Carla Accardi et Dadamaino, Between sign and transparency Two Italian artists at the frontiers of abstraction May 20 - September 18, 2021 TORNABUONI ART PARIS 16 avenue Matignon 75008 Paris I let my hand fow freely. Thus the ensemble appears denser or more sparse at times, but I do not seek these diversifcations which come spontaneously and are possible in spite of myself. For the moment, I call these signs “The alphabet of the mind” because I believe that they are the codes of a personal language. Dadamaino Accardi’s painting is rather a painting of unrestrained signs, a painting in search of the extreme tension between the rational and the irrational, between positive and negative. Her labyrinths deploy a sensual magnetism, cultivating a ferment that tends towards an agglomeration of materials and colors – limitless, structural and environmental. Germano Celant The exhibition Carla Accardi and Dadamaino: Between sign and transparency. Two Italian artists at the frontiers of abstraction exhibits works by Carla Accardi (1924- 2014) and Dadamaino (1930-2004). The exhibition approaches the artists through their research surrounding signs that they deploy in a new way, particularly on transparent supports, inviting a radical rethinking of the notion of “reading” the work of art. Carla Accardi and Dadamaino share a freedom and independence that led them to adhere to diferent artistic movements while at the same time freeing themselves from dogmatic frameworks. They created two unique paths for themselves, two distinct artistic vocabularies linked by an interest for writing and for transparency.
    [Show full text]
  • THE SKY AS a STUDIO. YVES KLEIN and HIS CONTEMPORARIES Exhibition from July 18 to February 1, 2021
    THE SKY AS A STUDIO. YVES KLEIN AND HIS CONTEMPORARIES Exhibition From July 18 to February 1, 2021 PRESS RELEASE From 18 July 2020, the Centre Pompidou-Metz will present an exhibition Friday, 12 June 2020 devoted to Yves Klein (1928-1962), a major figure on the post-war French and European art scene. «The sky is a workshop/studio?”» reveals the aesthetic affinities he developed, outside the New Realists’ movement, with a constellation of artists, from the Gutai group in Japan to the spatial artists in Italy, from the ZERO artist group in Germany to the Nul group PRESS CONTACTS in the Netherlands. As a «space painter», Yves Klein projected art into a new odyssey with them. The sky, the air, the void and the cosmos became Centre Pompidou-Metz Marion Gales the immaterial workshop for reinventing art and man’s relationship with Press relations the world after the tabula rasa brought about by the war. As early as 1946, téléphone : 00 33 (0)3 87 15 52 76 Yves Klein associated his name to the other side of the sky, appropriating mél :[email protected] this infinite space as one of his canvases, while the spatial artists close Claudine Colin Communication to Lucio Fontana tried out making «artificial forms appear in the sky, Francesca Sabatini spectacular rainbows». Piero Manzoni became committed to the search for téléphone : 00 33 (0)1 42 72 60 01 a limitless space in which «matter becomes pure energy», which responds mél :[email protected] to Klein’s search for immaterial pictorial sensibility and to Otto Piene’s search for art as a sensory and regenerative medium for reconnecting man to the universe.
    [Show full text]
  • Seriell Formations Introduction Wiehager Engl
    Serielle Formationen. 1967/2017 First thematic exhibition on Minimalist trends in Germany at the time Curator 2017: Renate Wiehager. Curators 1967: Paul Maenz and Peter Roehr. Daimler Contemporary Berlin June 3 – November 5, 2017 Opening: June 3, 2017, 11 a.m. – 6 p.m., guided tours all day The exhibition ‘Serielle Formationen’ [ Serial Formations ], jointly curated by Peter Roehr and Paul Maenz for the studio gallery of the University in Frankfurt in 1967, can be seen as the first thematic exhibition on Minimalist trends in Germany. In the context of its exhibition series ‘Minimalism in Germany’, which started in 2005, the Daimler Art Collection is making a first attempt to re-stage the historical presentation. ‘Serielle Formationen’ was an outstanding exhibition that brought together the contemporary trends of the period. In particular, it showed artwork by artists from Germany and elsewhere side by side. A total of 62 artworks by 48 artists were selected because they were pictures and objects with ‘serial order’ as a visual feature—although the concepts behind them were highly diverse and sometimes downright contradictory. The European Zero movement was represented, alongside manifestations of Nouveau Réalisme, Pop and Op Art and American Minimal and Conceptual Art. The exhibition was accompanied by an ambitious catalogue containing six original graphical works and extensive artwork documentation and artist statements. “The ambition of ‘Serielle Formationen’ was to inform and to identify the differences between seemingly similar art phenomena.” (Maenz) The show at Daimler Contemporary Berlin features artworks from the Daimler Art Collection as well as loans from German and International collections.
    [Show full text]
  • Museum Für Gegenwart – Berlin Hello World
    Berlin, 27 April 2018 LIST OF ARTISTS Hamburger Bahnhof – Museum für Gegenwart – Berlin Hello World. Revising a Collection 28 April – 26 August 2018 GENERALDIREKTION PRESS – COMMUNICATION – SPONSORS Magdalena Abakanowicz (1930 Raszyn-Falenty, Poland – 2017 Warsaw, Poland) Stauffenbergstraße 41 10785 Berlin Abdul Salam/ Abdulsalam (1913 Banyumas, Java, Indonesia – 1987 Yog- yakarta, Indonesia) MECHTILD KRONENBERG HEAD OF DIVISION Agan Harahap (1980 Jakarta, Indonesia; lives in Yogyakarta, Indonesia) FIONA GEUSS Vahram Agasyan (1974 Yerevan, Armenia; lives in Yerevan) PRESS OFFICER NATIONALGALERIE Tel: +49 30 3978 34-17 Ashim Ahluwalia (1972 Mumbai, India; lives in Mumbai) Mobile: +49 151 527 51 565 Azra Akšamija (1976 Sarajevo, Bosnia-Herzegovina; lives in Camebridge, [email protected] Great Britain) www.smb.museum/hbf Anni Albers (1899 Berlin, Germany – 1994 Orange, USA) PROJECT-RELATED COMMUNICATION Josef Albers (1888 Bottrop, Germany – 1976 Orange, USA) ARTPRESS – UTE WEINGARTEN Tel: +49 30 484 96 350 J. Sultan Ali (1920 Mumbai, India – 1998 Kolkata, India) [email protected] www.artpress-uteweingarten.de Manuel Álvarez Bravo (1902 Mexico City, Mexico – 2002 Mexico City) Anak Agung Gde Soberat (1912 Ubud, Bali, Indonesia – 1992 Ubud) Joël Andrianomearisoa (1977 Antananarivo, Madagascar; lives in Anta- nanarivo and Paris, France) Alexander Archipenko (1887 in Kiev, Ukraine – 1964 in New York, USA) Siah Armajani (1939 Tehran, Iran; lives in Minneapolis, USA and St. Paul, USA) Hans Arp (1888 Strasbourg, France – 1966 Basel, Switzerland) Dr. Atl (Gerardo Murillo) (1875 Guadalajara, Mexico – 1964 Mexico City, Mexico) Auw Kok Heng (1913 Guangzhou, China – 1976 Denpasar, Bali, Indone- sia) Theo Balden (1904 Blumenau, Brazil– 1995 Berlin, Germany) Prabhakar Barwe (1963 Nagoa, India – 1995 Mumbai, India) Taking photographs is solely permitted for the current press coverage of the exhibition/event.
    [Show full text]
  • Yayoi Kusama: Biography and Cultural Confrontation, 1945–1969
    City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 2012 Yayoi Kusama: Biography and Cultural Confrontation, 1945–1969 Midori Yamamura The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4328 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] YAYOI KUSAMA: BIOGRAPHY AND CULTURAL CONFRONTATION, 1945-1969 by MIDORI YAMAMURA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2012 ©2012 MIDORI YAMAMURA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Anna C. Chave Date Chair of Examining Committee Kevin Murphy Date Executive Officer Mona Hadler Claire Bishop Julie Nelson Davis Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract YAYOI KUSAMA: BIOGRAPHY AND CULTURAL CONFRONTATION, 1945-1969 by Midori Yamamura Adviser: Professor Anna C. Chave Yayoi Kusama (b.1929) was among the first Japanese artists to rise to international prominence after World War II. She emerged when wartime modern nation-state formations and national identity in the former Axis Alliance countries quickly lost ground to U.S.-led Allied control, enforcing a U.S.-centered model of democracy and capitalism.
    [Show full text]
  • HEINZ MACK: the BREATH of LIGHT Curated by Francesca Pola
    HEINZ MACK: THE BREATH OF LIGHT Curated by Francesca Pola September 12th – November 15th 2019 Opening: September 11th 2019, from 6 P.M. to 8:30 P.M. Catalogue presentation in the presence of the artist: October 24th 2019, from 6 P.M. to 8:30 P.M. Cortesi Gallery, Corso di Porta Nuova 46/B, 20121 Milan Heinz Mack (Lollar, 1931) is one of the main artists of the second half of the 20th Century: a radical and revolutionary figure, who is continuously renewing expressive essentiality concepts and developing new artistic techniques since the ‘50s. The exhibition at the Cortesi Gallery, curated by Francesca Pola, is the first solo show in Italy dedicated to this artist, with the aim to widely retrace his whole artistic iter. Almost after sixty years of his first Italian exhibition, held in Milan in 1960 at the Azimut Gallery invited by Enrico Castellani and Piero Manzoni, followed by that in 1963 at Galleria Cadario. Made in close collaboration with the artist and his studio, the exhibition collects a series of fundamental examples of his work, concentrating on one of the crucial point of his creative activity: the relationship between light, color, structure and space. The exhibited works, mostly of large dimensions, start from 1959 to 2018 marking the key moments of his creative activity which placed Mack among the figures of the international artistic scenario of the time. The entire Mack’s work has always been focused on the fundamental role played by the light as a constitutive element of vision which he turned into a the key of a poetic language able to radically modify the bases of the modern art.
    [Show full text]