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Installation view of “Trisha Donnelly” at the Serralves Museum of Contemporary Art, Porto, Portugal, 2016. © SERRALVES FOUNDATION, PORTO, PORTUGAL/FILIPE BRAGA TRISHA DONNELLY WINS MUSEUM LUDWIG’S 2017 WOLFGANG HAHN PRIZE BY Alex Greenberger The Museum Ludwig in Cologne, Germany, announced today that Trisha Donnelly has won its 2017 Wolfgang Hahn Prize. The New York–based artist, who recently had a solo show at the Serralves Museum of Contemporary Art in Porto, Portugal, will now receive an exhibition at the Museum Ludwig. A sum of money, with a maximum amount of €100,000 (about $106,000), is typically given to the winner, though the amount awarded to Donnelly was not specified in a new release. Donnelly’s work (some of which will now be acquired by the Museum Ludwig) takes a wide variety of forms—installations, photographs, performances, drawings, videos, and writings, often dealing with time and perception. Hers are typically slow works that demand patience and often rely on a knowledge of the space in which they’re exhibited. “Trisha Donnelly is without doubt one of the most compelling artists of our time whose work offers entirely new ways of expe- riencing and thinking about form,” Suzanne Cotter, the director of the Serralves Museum, said in a statement. Cotter added, “As an artist she occupies a position of committed resistance to the easy appropriation of art as something contained and ultimately controllable. At the same time, the extraordinary generosity of her work, that touches on the visual—in particular the photographic—the spoken, the aural and the physical, is electrifying in its permission.” Cotter was a member of the prize’s jury. She was joined by Yilmaz Dziewior, the director of the Museum Ludwig; Mayen Beck- mann, the chairwoman of the Gesellschaft für Moderne Kunst; and Gabriele Bierbaum, Sabine DuMont Schütte, Jörg Engels, and Robert Müller-Grünow, all of whom are board members of the Gesellschaft für Moderne Kunst. Donnelly’s exhibition is currently slated to open on April 25. Until then, her work can be seen at “Less Than One,” a show at the Walker Art Center in Minneapolis featuring work from the museum’s collection. Greenberger, Alex, “Trisha Donnelly Wins Museum Ludwig’s 2017 Wolfgang Hahn Prize”, Artnews, December 1, 2016 TRISHA DONNELLY FROM 01 JUL 2016 TO 10 SEP 2016 PresentedThe second inof thea new historic exhibition art decoprogramme Serralves which Villa, reaffirms this is thethe historicsecond art in decoa new building programme of Serralves of exhibitions Villas as a thatprivileged recon - location for artists. This will be the first exhibition in Portugal of the work of the American artist, Trisha Donnelly (San Francisco, nect with the history of the Villa as a privileged site for artists. In 2016, New York-based artist Trisha Donnelly (1974, 1974). San Francisco) will present a specially conceived exhibition that will draw on the unique qualities of the Villa and its Inrelationship Serralves, Donnellyto the surrounding will create an gardens. inspirational Donnelly project is based one of on the the most unique influential qualities of and the Villaexciting and itsartists relationship of her generationwith the surroundingand the exhibition gardens, will thereby be the introducing first time subtle her worklighting will and be soundpresented effects. to the Based public in inNew Portugal.York and one of the most influential artists of her generation, her artistic practice includes actions, photographs, video, sound and sculpted objects, wherein the ‘Trishaartist removes Donnelly’ all the is autonomyorganized and by artisticthe Serralves stability from Museum these media.of Contemporary Donnelly is best Art, known Porto, for and her issite-specific curated by exhibi Suzanne- Cotter,tions, wherein Director. the architecture of the space becomes an integral part of the work, and for immersive installations in which the traditional boundaries between very different media are blurred and where abstraction and representation merge together, as demonstrated by her videos, absolutely anti-narrative works in which reality emerges. The experience of her exhibitions is intensely individual, wherein the act of understanding is replaced by a fluid association of ideas, which develops according to the synthesis of memories, insights and experiences that constitute the subjective outlook of each viewer. Trisha Donnelly has staged solo exhibitions in some of the best-known artistic institutions, including the San Francisco Mu- seum of Modern Art (2013); Portikus, Frankfurt (2010); the Museo d'Arte Moderna di Bologna (2009); Center for Contempo- rary Art, Kitakyushu (2009); the Centre d'édition contemporain, Geneva (2008); the Douglas Hyde Museum, Dublin (2008); the Institute of Contemporary Art Philadelphia (2008); the Renaissance Society, University of Chicago (2008); and the Museum of Modern Art, Oxford (2007? 08). In 2013 Donnelly participated in the 55th Venice Biennale. She was nominated for the Hugo Boss Art Prize in 2012 and awarded the prestigious photography prize from the LUMA Foundation in 2010. The "Trisha Donnelly" exhibition is organized by the Serralves Museum of Contemporary Art, Porto, and curated by the museum’s director, Suzanne Cotter. Barshee, Tenzing, “Trisha Donnelly”, Spike Art Quarterly, Issue # 48, Summer 2016, pg. 119-127 BEST OF 2015: STÉPHANIE MOISDON Trisha Donnelly, Untitled, 2014, digital image, dimensions variable. 8 TRISHA DONNELLY (AIR DE PARIS, PARIS) Donnelly exhibitions are rare sightings. This installation of video, projection, sound and drawing created the experience of an elliptical dérive through a world without references-only mirages, vibratile presences, indecipher- able holograms-an emergence of forms as if prehistoric, solitary organisms. Beyond its evident beauty, her unique approach always raises fascinating questions about cod- ing and language, memory and its effacement. Moisdon, Stephanie, “Best of 2015: 8. Trisha Donnelly”, Artforum, December 2015, pg. 233 CRITICS’ PICKS Trisha Donnelly MATTHEW MARKS GALLERY Los Angeles September 26–November 7 by Olivian Cha In Trisha Donnelly’s work the deferral of meaning has become an aesthetic operation—one that extends beyond the site of display and into the systems of production and distribution that surround, and often define, the work of art. While one could identify the works in the show as photographs, videos, and drawings, the artist seems less concerned with anchoring artworks in their about-ness as much as suspending meaning in the margins of what is formally “on view.” Here, unceremonious gestures—an exposed back door left slightly ajar or the hardcover book propping up a projector, for instance—become heavy with potential significance, occasionally inducing frustration but also moments of sublimity. The most poignant example is found in a black tarp that loosely covers a single skylight—the gallery’s main light source. Controlled by the unpredictable choreography of wind, sunlight illumi- nates the room as wavy flicker or trapezoidal planes. If the drastic shifts of light and raw borders of her photographs and projections emphasize the periphery, the edges of Donnelly’s works embody a kind of softness and viscosity. In the frenzied vibrations and globular shapes, the artist’s videos convey the liquid qualities of photographic emulsions and running water—the delicate tremor between darkness and exposure. There is also light jazz. Playing from a speaker-system inelegantly located in a back corner of the gallery, the exhibition’s buoyant soundtrack recalls the cinema of Jacques Tati, set here against airport seats and the video April, 2013, a work that manifests the frenetic rhythm of Paul Sharits’s flicker films but features geometric and diagrammatic forms evoking the electric insides of a sentient scanner. At some point the music momentarily shifts from pleasant melody to a strange spectral noise with sonar frequencies, locating us somewhere between the deep sea and the celestial unknown. Cha, Olivian, “Critics’ Picks”, Art Forum (Online), October 20, 2015 5 Free Art Shows You Should See in L.A. this Week By Catherine Wagley October 14, 2015 A dab of sunshine There’s no press release for Trisha Donnelly’s current exhibition at Mat- thew Marks (the artist rarely releases information about her shows). What you see when you enter the gallery is a minimal, rectangular video involving moving water. It’s projected behind the front desk, and the whole space is mostly dark. Most of the skylights in the main gallery are covered to make it easier to see the off-kilter video, which sometimes resembles a landscape, sometimes a computer program. But periodi- cally, wind will blow up the tarp covering one of the skylights and sunlight will stream in. It's fleetingly thrilling, as it is when clouds part on a stormy day. 1062 N. Orange Grove, West Hollywood; through Nov. 7. (323) 654-1830, matthewmarks.com. Wagley, Catherine, “5 Free Art Shows You Should See in L.A. this Week”, LA Weekly (Online), October 14, 2015 From Oslo with love: Erling Kagge's art collection goes on show ART/ 1 JUN 2015 /BY WESSIE DU TOIT Kagge has a special affinity for artist Trisha Donnelly. Pictured here is 'Untitled' (2007), 'Enamel on fabric,' and 'Portikus, Frank- furt am Main' installation (2010). Photograph courtesy of Astrup Fearnley Museum. Around the waterfront in Oslo, you can experience what the director of Norway’s Institute for Contemporary Art has called the city’s ‘dy- namic moment’. Scaffolding signals a new wave of cultural destinations that will join existing gems such as the Opera House, the ambitious Ekeberg sculpture park, and a high concentration of artist-run spaces. Beside the Oslofjord is the sweeping glass roof of the Renzo Piano-designed Astrup Fearnley Museum, which now houses an intriguing collection of contemporary art, titled Love Story. It belongs to Arctic explorer, lawyer, publisher, and all-round thrill-seeker Erling Kagge. Having sailed repeatedly across the Atlantic, conquered the ‘Three Poles’ - North, South, and the summit of Everest - and reached the cover of Time magazine, Kagge began to seek challenges from the world of art.

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