Curriculum Vitae Georg Windeck

Total Page:16

File Type:pdf, Size:1020Kb

Curriculum Vitae Georg Windeck CURRICULUM VITAE GEORG WINDECK PERSONAL INFORMATION Address: Georg Windeck 137 W 142nd Street New York NY 10030 Email: [email protected] Citizenship: USA, Germany PROFESSIONAL REGISTRATION 2009 New York Registered Architect No. 033253 2009 Washington DC LEED accredited professional 2002 Berlin Member Chamber of Architects Nr.10817 EDUCATION 1994- Berlin Diplom-Ingenieur in Architecture, Technical University Berlin 2000 (Master of Architecture I equiv.) 1996 Berlin Sculpture studies at the Academy of Fine Arts ACADEMIC 2000-present New York The Cooper Union for the Advancement of Science and Art Irwin S. Chanin School of Architecture 2009 Associate Professor Adj. 2002 Assistant Professor Adj. 2000 Instructor Adj. 2010 Honors Menschel Faculty Award 2010 for teaching and research integrating art, architecture and engineering Bachelor level History of Architecture I, The Ancient (2000/01-2015/16) Buildings and architectural concepts of Antiquity Stone Age, Egypt, Mesopotamia, Greece, Rome History of Architecture II, The Modern (2000/01-2004/05) The history of modern architecture in Europe and America 18th- 20th C Artistic intentions and social ideals of modernity Design I Architectonics (2006/07) Introduction to design concepts: Representation of space and structure Architectural elements and their functions; principles of form finding (with Tamar Zinguer and Anthony Titus) Design IV Architectural Urbanism (2001/02-2005/06, 2009/10) Design in the urban context: site specific contemporary architecture Analysis of historic landmarks and city plans; theories of urbanism (with Diane Lewis, Peter Schubert, Mersiha Veledar) The Feltman Seminar in Light and Lighting (2004/05) Light as design tool in architecture und city planning Theory of light in art, natural science, and philosophy (Cooper Union School of Humanities and Social Sciences) Master level Advanced Topics / Grad. Seminar Technology (2007/08-2013/14) The 20th Century in Detail- Construction Principles of Modernism Technological inventions and artistic expression (2007/08 – 2009-10) Face Off – Façade Design in Contemporary Theory and Practice The boundary between interior and exterior (2010/11-2013/14) The Modern Spectrum – Color in Architectural Design and Construction Color in architectural design and representation (2014/15-2015/16) Administrative Member of the Library Committee and the Academic Standards Committee (2008/09-2015/16) Adjunct Faculty representative (2006/07-2011/12) 2014-present New York School of Visual Arts Critical Theory and the Arts Graduate Program Master level Art City, City Art, On Site Social and spatial positions of contemporary art in New York City Guest critic in various undergraduate and graduate programs: Harvard University, Pratt Institute, Columbia University, Rensselaer Polytechnic Institute, City College, Catholic University, Parsons New School, Hochschule Rhein Main, TU Berlin, Syracuse University Georg Windeck 2 PROFESSIONAL PRACTICE 2016 New York Artist studio in the London Terrace building, Chelsea 2015 New York Renovation of Central Park West Penthouse 2014 New York Renovation and conversion of historic Stuyvesant Heights Brownstone 2011 Princeton Das Thomas Mann Haus Founding member of the committee for a Thomas Mann memorial library in his Princeton residence; programming, historic preservation 2008 Berlin Extension of landmarked townhouse in Onkel Toms Hütte (Bruno Taut) 2006 Berlin L’Oreal retail concept design for Macy’s department store 2004 Berlin Renovation and furniture design for private residence 2000 Potsdam Residential master plan at historic royal gardens of Sanssouci CONSULTANCIES AND CORPORATE PRACTICE 2012 New York Superstructures Project Architect, historic preservation Engineers + Architects Duke House / NYU Institute of Fine Arts La Guardia Community College 2011 Berlin Kleine Metz Technical designer: construction documents Architekten for social housing in Neu-Ulm 2004- New York Hillier Architecture Lead designer, project manager 2008 (now RMJM) for various laboratory buildings: Universities of Puerto Rico / Singapore East River Science Park Construction documents / supervision: Apartment building 5th Avenue 2003 Berlin Heike Büttner Architectural designer: Architekten Competition trade center for 1.Prize Berlin Mitte 2000 New York Diane Lewis Architectural designer: 2002 Architect Cast iron building renovation Programming/planning art school 1997 Berlin Illig Weickenmeier Architectural designer: und Partner Competition department store Mention 1995 Berlin Terhechte Site surveyor / programming: Baroque palace Diedersdorf 1994 Berlin Grünberg Architectural Designer: und Partner Urban competition Werder Mention Georg Windeck 3 COMPETITIONS 2011 Weimar Neues Bauhaus Museum International Design Competition 2008 Tallin Estonian Academy of Arts Art school building with theater and exhibition hall 2007 Siracusa Europan 9 “Sustainable Landscapes” Landscape garden in Siracusa, Sicily 2005 Crakow Tadeusz Kantor Museum 2. Prize Gallery building in medieval city center 2003 New York New Housing for Brooklyn Affordable apartment buildings with urban park 2003 Seoul Nam June Paik Museum Semifinalist Museum for video and installation art 1997 Alonnisos International Center for Holistic Medicine Mention Sanatorium and research clinic on Greek island 1995 Berlin Bauakademie 1. Prize Design proposals for the historic Schinkel site EXHIBITIONS 2009 Rome “The Wine-Dark Sea” Results of Europan 9 Italy Ex GIL Gallery 2008 Tallinn Exhibition of competition results Gallery of the Eesti Kunstiakadeemia 2005 Krakow X MBA 10. International Architecture Biennale Crakow 2004 New York “New Housing NY” innovative social housing for New York Center for Architecture AIA New York Chapter 2003 Seoul Selected proposals Nam June Paik Museum competition Total Museum Suwon 2002 Berlin “Rome-Berlin-New York” projects by Cooper Union students UIA 2002 World Congress of Architects 1999 Berlin “200 Jahre Bauakademie” (“200 years Building Academy”) Anniversary exhibition of the Technical University Berlin 1996 Düsseldorf “Bauakademie in Glas” (“Building Academy in glass”) GLASTEC tradeshow for glass technology Gelsenkirchen “Originale statt Kopie” (“Originals instead of copies”) Galerie für Architektur und Arbeit Berlin “Noch nie gezeigt” (“Never shown before”) Berlinische Galerie - Martin Gropius Bau Georg Windeck 4 SELECTED LECTURES Keynote speaker The Effects of Changing Mobility on Architecture and Urbanism Happold Building Talks Berlin, 2011 Elektropolis 2.0 EUREF Institute, Intelligent City Forum Berlin, 2010 Invited lectures The Bandit Towers of New York Critical Theory and the Arts, SVA, New York, 2014 The Cloisters – Medieval Architecture of New York Critical Theory and the Arts, SVA, New York, 2014 Bulk, and the sky it is built into – New York high rise architecture Critical Theory and the Arts, SVA, New York, 2014 Socialist Coops and Punk House Squads Critical Theory and the Arts, SVA, New York, 2013 On Architectural History Introduction to Architecture, Cooper Union, New York, 2013 Junk, and the ground it is built on – what’s wrong with New York City architecture? Critical Theory and the Arts, SVA, New York, 2012 Das Innere Detail (The Inner Detail) Hochschule Rhein Main, Wiesbaden, 2011 Construction Matters Columbia University School of Architecture New York, 2010 Steel Construction in Modern Architecture Illinois Institute of Technology Chicago, 2010 Berlin as Germania School of the Humanities and Social Sciences New York, 2010 Stair - Case Columbia University School of Architecture New York, 2009 Architecture of Lost Time Alexandria Architecture Center Washington DC, 2003 The Museum Plan Bard College, Center for Curatorial Studies New York, 2000 Conferences and Symposia Researching the Intelligent City Symposium EUREF Institute, Intelligent City Forum Berlin, 2011 Material as Metaphor “Material Matters” conference University of East London, 2004 Georg Windeck 5 PUBLICATIONS Books Construction Matters Author: Georg Windeck Co-editors Lisa Larson-Walker, Sean Gaffney, Will Shapiro Powerhouse Books, New York, 2016 Rome, Berlin, New York Authors: Diane Lewis, Peter Schubert, Georg Windeck Cooper Union Archive Publication, New York, 2002 Selected essays and articles Städtebau Georg Windeck in conversation with Diane Lewis in: Open City – Existential Urbanity Charta, Milan, 2015 New York, eine Stadt erfindet sich neu (New York, a city reinvents itself) in: Häuser Nr. 06 (2006) pages 142-151 Der Anti – Schinkel (The Anti- Schinkel) in: db Deutsche Bauzeitung Nr. 1 (1996) pages 14-15 Berliner Blütenträume und Obstschnittchen (Berlin Flower-dreams and Fruitcakes) in: Frankfurter Allgemeine Zeitung Nr. 285 (1995) pages 39 Ideen für einen leeren Ort (Ideas for an empty site) in: Zeit-Magazin Nr. 49 (1995) pages 20-35 Eine sich öffnende Blume in der Nachfolge von Schinkel (An opening flower in the legacy of Schinkel) in: Der Tagesspiegel Nr. 15458 (1995) page 54 Georg Windeck 6 .
Recommended publications
  • Rebecca Horn Introduction of Works
    REBECCA HORN INTRODUCTION OF WORKS • Parrot Circle, 2011, brass, parrot feathers, motor t = 28 cm, Ø 67 cm | d = 11 in, Ø 26 1/3 in Since the early 1970s, Rebecca Horn (born 1944 in Michelstadt, Germany) has developed an autonomous, internationally renowned position beyond all conceptual, minimalist trends. Her work ranges from sculptural en- vironments, installations and drawings to video and performance and manifests abundance, theatricality, sensuality, poetry, feminism and body art. While she mainly explored the relationship between body and space in her early performances, that she explored the relationship between body and space, the human body was replaced by kinetic sculptures in her later work. The element of physical danger is a lasting topic that pervades the artist’s entire oeuvre. Thus, her Peacock Machine—the artist’s contribu- tion to documenta 7 in 1982—has been called a martial work of art. The monumental wheel expands slowly, but instead of feathers, its metal keels are adorned with weapon-like arrowheads. Having studied in Hamburg and London, Rebecca Horn herself taught at the University of the Arts in Berlin for almost two decades beginning in 1989. In 1972 she was the youngest artist to be invited by curator Harald Szeemann to present her work in documenta 5. Her work was later also included in documenta 6 (1977), 7 (1982) and 9 (1992) as well as in the Venice Biennale (1980; 1986; 1997), the Sydney Biennale (1982; 1988) and as part of Skulptur Projekte Münster (1997). Throughout her career she has received numerous awards, including Kunstpreis der Böttcherstraße (1979), Arnold-Bode-Preis (1986), Carnegie Prize (1988), Kaiserring der Stadt Goslar (1992), ZKM Karlsruhe Medienkunstpreis (1992), Praemium Imperiale Tokyo (2010), Pour le Mérite for Sciences and the Arts (2016) and, most recently, the Wilhelm Lehmbruck Prize (2017).
    [Show full text]
  • The Fagus Factory in Alfeld
    THE FAGUS FACTORY IN ALFELD NOMINATION FOR INSCRIPTION ON THE UNESCO WORLD HERITAGE LIST SEPTEMBER 2009 Summary SUMMARY I Fagus Factory – Nomination for Inscription on the Unesco World Heritage List II Summary State party Federal Republic of Germany State, province or region Lower Saxony, town of Alfeld Name of property Fagus factory Geographical coordinates to the nearest 51° 59’ 01” degrees North second 09° 48’ 40” degrees East Textual description of the boundary(ies) of Historical industrial area to the west of the the nominated property core city of Alfeld: the nominated area borders the Hanover-Göttingen rail route in the northeast and the Hannoversche Straße in the southwest. A4 (or „letter“) size map of the nominated See end of summary property, showing boundaries and buffer zone (if present) Justification With the construction of the Fagus factory, Statement of outstanding universal value Gropius made a breakthrough to new, modern art that went hand in hand with the age of technology. The Fagus factory, with a radical break from the conventional design practice, represents for the first time a new expression of architecture, which develops space and form from function, takes into account the light, air and lucidity require- ments of its users and makes use of the new technical possibilities of construction with glass and steel in industrially pre-produced processing. Glass, which is actually an unsubstantial material,becomes a formative building material and mode of expression of architecture.The design concepts underlying this construction had a decisive influence on the development of twentieth century architecture not only in Germany and Europe, but around the globe.
    [Show full text]
  • P28-31 Books
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Liverpool Repository BOOK REVIEWS and Greece, but he also visited the same name, this Peter Ellis was Don’t forget that if In the Footsteps…, and realises, in London to study technical aspects of born in 1805 in Liverpool, where his you’d like to buy any fact, that much of this book is just building. With the aid of load-bearing father, similarly Peter Ellis, was a of the books that: an illustrated walk, in the reviewed here, the iron frames he designed a new type builder and, by 1832, styled also as Victorian Society company of ‘Peter’, as the author of compact ‘storage library’ (for the an architect. Ainsworth and Jones benefits from every refers to him, through nineteenth- university libraries in Kiel, Greifswald speculate that their Peter Ellis might order placed on century Liverpool. and Halle). have learned his draughting skills Amazon via the No. 16 Cook Street, Ellis’s one Körte has divided the extensive from James Sherriff, a surveyor and Society’s website. other surviving building, is as curious Go to: material on Gropius’s life and works cartographer, but he would almost bit.ly/booksreviewed as Oriel Chambers. Once again a into three periods. In so doing, he certainly have learned his building cast-iron frame is employed, now aims to draw links between the skills from his father while developing supporting the shallow-vaulted, fire- architect’s background areas such as those around Great proof brick ceilings and the circumstances and his career and George Square and Kent Square, now improbable, glazed warehouse make these more comprehensible to demolished.
    [Show full text]
  • Marian Goodman Gallery
    MARIAN GOODMAN GALLERY TINO SEHGAL Born: London, England, 1976 Lives and works in Berlin Awards: Golden Lion, Venice Biennale, 2013 Shortlist for the Turner Prize, 2013 American International Association of Art Critics: Best Show Involving Digital Media, Video, Film Or Performance, 2011 SOLO EXHIBITIONS 2019 Enoura Observatory, Odawara Art Foundation, Japan Accelerator Stockholms University, Stockholm, Sweden Tino Sehgal, Marian Goodman Gallery, New York 2018 Tino Sehgal, Kunstmuseum Stuttgart, Germany This Success, This Failure, Kunsten, Aalborg, Denmark This You, Hirshhorn Museum and Sculpture Garden, Washington D.C., USA Oficine Grandi Riparazioni, Turin, Italy 2017 Tino Sehgal, Fondation Beyeler, Switzerland V-A-C Live: Tino Sehgal, the New Tretyakov Gallery and the Schusev State Museum of Architecture, Moscow Russia 2016 Carte Blanche to Tino Sehgal, Palais de Tokyo, Paris, France Jemaa el-Fna, Marrakesh, Morocco Staatliche Kunstsammlungen Dresden, Lichthof, Germany Sehgal / Peck / Pite / Forsythe, Opéra de Paris, Palais Garnier, France 2015 A Year at the Stedelijk: Tino Sehgal, Stedelijk Museum, Amsterdam, The Netherlands Tino Sehgal, Martin Gropius Bau, Berlin, Germany Tino Sehgal, Helsinki Festival, Finland 2014 This is so contemporary, Art Gallery of New South Wales, Sydney These Associations, CCBB, Centro Cultural Banco de Brasil, Rio de Janeiro, Brazil These Associations, Pinacoteca do Estado de Sao Paulo, Sao Paulo, Brazil 2013 Tino Sehgal, Musee d'Art Contemporain de Montreal, Montreal, Canada Tino Sehgal: This Situation,
    [Show full text]
  • The Conservation and Presentation of 'Fragmentary
    The Conservation and Presentation of ‘Fragmentary’Archaeological Sites in Modern Urban Contexts: Post-War Redevelopment in London, Berlin and Beirut. Caroline A. Sandes Volume I Thesis submitted in fulfilment of the requirements for the degree of PhD 2007 Institute of Archaeology, University College London, University of London. This thesis is an unrevised examination copy for consultation only and it should not be quoted or cited without the permission of the Director of the Institute UMI Number: U592665 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U592665 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 In memory of my godmothers, E. Jane Magnier (1941-2004) and Zoe K. Stewart (1922-2004) Abstract This research is concerned with the conservation of fragmentary archaeological features in the modem city particularly within the context of the social and architectural trauma associated with post-war redevelopment. This site type is generally represented by building foundations and architectural ruins, stretches of town wall and other such masonry remains that have been conserved in isolation, as opposed to being integrated into later buildings.
    [Show full text]
  • Proquest Dissertations
    Spectres of the Past, Prospects for the Future: The Spatial and Conceptual Development of the 'New Berlin' Jan-Mark van der Leest A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts Institute of European, Russian and Eurasian Studies Carleton University Ottawa, Ontario January 2008 ©2008, Jan-Mark van der Leest Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-40615-1 Our file Notre reference ISBN: 978-0-494-40615-1 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]
  • Architectural History in the Architecture Academy: Wilhelm Stier (1799-1856) at the Bauakademie and Allgemeine Bauschule in Berlin
    Architectural history in the architecture academy: Wilhelm Stier (1799-1856) at the Bauakademie and Allgemeine Bauschule in Berlin Eric Garberson Figure 1 Wilhelm Stier in Selinunte, 1828, lithograph. Universitäts- und Stadtbibliothek, Cologne, Inv. Nr. K5/120 (Photo: USB) Figure 2 Wilhelm Stier, collotype from Zeitschrift für Bauwesen 7 (1857), frontispiece. (Photo: Architekturmuseum, Technische Universität zu Berlin) Table of Contents Introduction ........................................................................................................................... 2 The first years of the Bauakademie and Hirt’s ‘Critical history of architecture’ ........ 17 The independent Bauakademie ......................................................................................... 25 Wilhelm Stier: youth, training, travel ............................................................................... 41 Düsseldorf, Cologne, and Bonn, 1817-1821 ................................................................. 43 Paris, 1821 ......................................................................................................................... 46 Rome, 1822-1827 .............................................................................................................. 50 Stier at the Bauakademie, 1828-1831 ................................................................................. 82 Beuth’s Reform of 1831-32 and Stier’s Professional Activities, 1832-1849 .................. 89 The Reform of 1848-1849 and Stier’s Last Years ..........................................................
    [Show full text]
  • Martin-Gropius-Bau Der Bau Des 70 X 70 M Großen Ehemaligen
    Martin-Gropius-Bau Der Bau des 70 x 70 m großen ehemaligen Kunstmuseums in Berliner - Kreuzberg wurde, unter Berücksich- tigung der Grundprinzipien Karl Friedrich Schinkel, in den Jahren 1877 – 1881 von den Architekten Martin Gropius und seines Kompagnons Heino Schmieden geplant und umgesetzt. Außenansicht mit Eingangsportal an der Niederkirchnerstraße Da das Gebäude und fast der komplette Museumsbestand im Zweiten Weltkrieg so stark zerstört und be- schädigt waren, überlegte man die Ruine abzureißen. Auf Initiative und Intervention, u.a. des Bauhaus Gründers Walter Gropius (Großonkel von Martin Gropius) wurde der Abriss gestoppt, 1966 unter Denkmalschutz gestellt und erhielt den Namen seines Hauptarchitek- ten. Ab 1961 begannen die DDR Oberen damit einen „antifaschistischen Schutzwall“ zu bauen, der in der Mitte der Niederkirchnerstraße verlief. Der Martin-Gropius-Bau und sein Eingangsportal lag zwar auf Westberli- ner Seite waren aber nur schwer zugänglich. Beim Wiederaufbau 1978 wurde der Eingangsbereich auf die Rückseite des Gebäudes verlegt und noch während der laufenden Bauarbeiten 1981eine Schinkel – Ausstellung eröffnet. Nach der deutschen Wiedervereinigung und dem Mauerfall verlegte man das Haupt- portal wieder an die Nordseite, seinen ursprünglichen Ort. Der Gropiusbau ist heute eines der bedeutensten Ausstellungshäuser Europas. Treppenaufgang auf der Südseite vom EG. zum 1.OG . Architekten: Martin Gropius (1824-1880) + Heino Schmieden (1835-1913) Bauzeit: Kunstgewerbemuseum 1877 – 1881 Baustil: ital. Renaissance Geschoßhöhe:
    [Show full text]
  • Private Gardens of the Tyszkiewiczs, Bnińskis, and the Potulickis Designed by Édouard André in Poland and Lithuania1
    RIHA Journal 0219 | 30 August 2019 Private Gardens of the Tyszkiewiczs, Bnińskis, and the Potulickis Designed by Édouard Andr in Poland and !ithuania1 "ałgorzata $%ilanowska Abstract One of the most outstanding designers of 19th-century uro!ean gardens was #douard Andr$% famous &oth as a theoretician% author of numerous !u&lications% and 'rst of all as a !ractitioner( designer of several hundred of !rivate and !u&lic !ar* layouts for clients from around the world+ ,hese also included -olish aristocrats( the .ni/s*is% -otulic*is and the ,ys0*iewic0s% for "hom he designed !ar* com!le1es !reserved until today in -oland( 2amostr0el and -otulice% as well as in 3ithuania( in 3andwar4" 53entvaris6% 7atroc0e 589utra*is6% :a*a 5,ra*; <o*=6% and -o>?ga 5-alanga6+ ,he recreation of the history of laying out these !ar*s and their analysis allo" to enrich our *nowledge of Andr$’s creati)e methods and of the organi0ation of his &usiness on the one hand% and of the am&itions and !otential of the landowners of the former -olish-3ithuanian Aommonwealth on the other+ &ontents #douard Andr$ and his wor*s around the world #douard Andr$’s par*s in Poland 2amostr0el -otulice #douard Andr$’s par*s in Lithuania 3entvaris (Landwar4"6 -alanga (Po>?ga6 89utra*is (Zatroc0e6 ,ra*; Vo*= (Wa*a6 Reca!itulation 1 The !resent !a!er has &een &ased on the research !artially already !resented in the -olish !a!er( Ba>gor0ata Omilano"ska% C#douard Andr$ i Dego reali0acje ogrodo"e " -olsce i na 3it"ieC E#douard Andr$ and His Farden Realisations in -oland and 3ithuaniaG% in(
    [Show full text]
  • Bio Template- Long Format
    ANA MENDIETA Born 1948, Havana, Cuba Died 1985, New York, New York MA, University of Iowa, 1972 MFA, University of Iowa, 1977 SOLO EXHIBITIONS 2020 Ana Mendieta: Suspended Fire, Denver Art Museum, Denver, Colorado Ana Mendieta: Ochún, Cleveland Museum of Art, Cleveland, Ohio Tropic-Ana, Nogueras Blanchard, Madrid, Spain 2019 Source, Galleria Raffaella Cortese, Milan, Italy La tierra habla (The Earth Speaks), Galerie Lelong & Co., New York, New York Connecting to the Earth: Ana Mendieta, Institute of Modern Art, Brisbane, Australia Earthbound, Middleheim Museum, Antwerp, Belgium 2018 Ana Mendieta: Cuba & Miami 1981-83, Galerie Lelong & Co., Paris, France Covered in Time and History: The Films of Ana Mendieta, Martin-Gropius-Bau, Berlin, Germany; Institute for Contemporary Art, Galerie nationale du Jeu de Paume, Paris, France 2017 Ana Mendieta: Silueta Sangrienta, Colby Museum of Art, Waterville, Maine Ana Mendieta: Thinking About Children’s Thinking, Sugar Hill Children's Museum of Art & Storytelling, New York, New York Siluetas de Alma (Soul Silhouettes) - 6th Thessaloniki Biennale, State Museum of Contemporary Art, Thessaloniki, Greece Covered in Time and History: The Films of Ana Mendieta, Bildmuseet, Umeå, Sweden Metamorphosis, Alison Jacques Gallery, London, England 2016 Ana Mendieta: Siluetas, CONTACT Gallery, Toronto, Canada Ana Mendieta, Raffaella Cortese Gallery, Milan, Italy Ana Mendieta: Experimental and Interactive Films, Galerie Lelong, New York, New York Covered in Time and History: The Films of Ana Mendieta, Katherine E. Nash Gallery, University of Minnesota, Minneapolis, Minnesota; NSU Art Museum Fort Lauderdale, Fort Lauderdale, Florida; University of California, Berkeley Art Museum and Pacific Film Archive, Berkeley, California 2015 Ana Mendieta: Alma, Silueta en Fuego, St.
    [Show full text]
  • REBECCA HORN Biography 1944 Born in Germany Resides
    REBECCA HORN Biography 1944 Born in Germany Resides in Berlin and Paris EDUCATION 1963 Hochschule für Bildende Künste, Hamburg, Germany 1971 St. Martins School of Art, London, England SELECTED AWARDS 2011 Grande Médaille des Arts Plastiques 2011, France 2010 Hessischer Kulturpreis, Germany Premium Imperiale Prize, Japan 2009 Alice Salomon Poetik Preis, Berlin, Germany 2007 Alexej von Jawlensky-Preis der Landeschauptstadt Wiesbaden 2006 Piepenbrock Prize for Sculpture, Berlin, Germany 2005 Hans-Molfenter-Preis, Stuttgart, Germany 2004 Barnett and Analee Newman Award, New York 1992 Trägerin des Kaiserring der Stadt Goslar and the Medienkunstpreis Karlsruhe, Germany 1988 Carnegie Prize; The Hydra Forest, Performing Oscar Wilde, Carnegie International, Pittsburgh, Pennsylvania 1986 Documenta-Preis (Arnold Bode), Kassel, Germany 1979 Kunstpreis der Böttcherstraße, Bremen, Germany 1977 Kunstpreis Glockengasse, Cologne, Germany 1975 Deutscher Kritikerpreis for film Berlin -- Exercises in Nine Parts: Dreaming Under Water of Things Afar 1971-72 DAAD Fellowship, St. Martins School of Art, London, England SELECTED SOLO EXHIBITIONS 2015 Rebecca Horn: The Vertebrae Oracle, Studio Trisorio, Napoli, Italy Rebecca Horn: The Warriors as Will O’ the Wisps, Zurich Kunsthaus, Zurich, Switzerland 2014 Rebecca Horn: The Vertebrae Oracle, Sean Kelly Gallery, New York, New York Rebecca Horn : des arts plastiques au cinéma, 7èmes Journées Internationales du Film sur l’Art, Louvre, Paris Rebecca Horn: Between the Knives the Emptiness, Galerie Lelong, Paris, France
    [Show full text]
  • Neue Wirklichkeiten Ausstellung Im Martin-Gropius-Bau Berlin Vom 19
    Amerika 1492–1992 Neue Welten – VERANSTALTERIN Neue Wirklichkeiten Stiftung Preußischer Kulturbesitz: Staatliche Museen zu Berlin, Museum für Völkerkunde und Ausstellung im Ibero-Amerikanisches Institut Martin-Gropius-Bau AUSSTELLUNGSLEITUNG Berlin Klaus Helfrich, Dietrich Briesemeister Vom 19. September 1992 KOORDINATION UND bis 3. Januar 1993 ORGANISATION Klaus Helfrich, Heinz Joachim Domnick, Elke Ruhnau GESAMTKONZEPT UND WISSENSCHAFTLICHE MITARBEIT Klaus Helfrich, Heinz Joachim Domnick, Dirk Böndel, Peter Bolz, Jürgen Bunkelmann, Luis M. Coin Cuenca, Gustaf Nils Doren, Manuela Fischer, Maria Gaida, Richard Haas, Richard Kelly, Christiane Lamberty, Karl Lenz, Renate Löschner, Peter Masson, Jürgen Mrosek, Christoffer Richartz, Elke Ruhnau, Bernhard Zepernick, Gudrun Zögner, Lothar Zögner GESTALTUNG UND REALISATION Architektur und Design Jürg Steiner, Berlin; mit Ruth Hasbach, Christof Althaus, Hasso von Elm, Michael Tattermusch Computeranimation Heinz Joachim Domnick, Oliver Fabel, Karl Lenz, Jürgen Mrosek, Bettina Probst, Christoffer Richartz, Büro Steiner Diaprojektion Karl Lenz, Jürgen Mrosek, Christoffer Richartz, Jürgen Bunkelmann Karten und Grafiken Ulrich Gebauer, Renate Sander Ausführung der Schiffskonstruktion Thomas Wellner, Günter Zappe, Barbara de Longueville, Corinna Kapp, Peter Hofmann, Guido Hube, Werft Guadalete (Pto. Santa Maria) Bauleitung Gottfried Engels Klaus Scharn AUSSTELLUNGSSEKRETARIAT Elke Ruhnau, Margarete Hartmann, Karin Eder, Henrieke Grohs, Volker Jaeckel FOTOS Dietrich Graf (schwarz-weiß) Werner Zellien
    [Show full text]