Curators 2017
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Press Release Curators' Series #5. Bouvard and Pécuchet's Compendious Quest for Beauty
Press Release Curators’ Series #5. Bouvard and Pécuchet's Compendious Quest for Beauty. Exhibition dates: 05.04.12 – 09.06.12 Opening Reception: 04.04.2012 from 6.30 pm Mark Manders. Figure with Book and Fake Dictionaries 2009. David Roberts Collection, London Chris Sharp and Simone Menegoi are the fifth guest curators invited by D.R.A.F. to be part of the Curators' Series. The title for the exhibition is taken from Gustave Flaubert's last, unfinished novel where two Parisian copyists Bouvard and Pécuchet meet, become dear friends, and stoke each other's curiosity to know the world and its rational, post- Enlightenment ways better. They become autodidacts of a dozen different orders, teaching themselves everything from agriculture to medicine. However, despite their best intellectual intentions, any application of the often contradictory knowledge they recklessly accumulate almost always results in confusion, failure or disaster. Yet success is not entirely elusive. One moment a given principle works, whereas in the next it doesn’t. This in turn leads them to continually cry in vain, Où est la règle? (Where is the rule?), as if the clarity and understanding of the supposedly knowable world promised by the Age of Reason were but a farce. In a time when any one individual can access and amass vast and even arcane stores of information, Flaubert's hapless antiheroes seem to be both prescient harbingers and symbols of our era. Their headlong approach can also be said to implicitly describe a good portion of what takes place in contemporary art today, in which we are faced with an obscure and at times questionable expertise on a bewildering multiplicity of subjects. -
Northern Gothic: Werner Haftmann's German
documenta studies #11 December 2020 NANNE BUURMAN Northern Gothic: Werner Haftmann’s German Lessons, or A Ghost (Hi)Story of Abstraction This essay by the documenta and exhibition scholar Nanne Buurman I See documenta: Curating the History of the Present, ed. by Nanne Buurman and Dorothee Richter, special traces the discursive tropes of nationalist art history in narratives on issue, OnCurating, no. 13 (June 2017). German pre- and postwar modernism. In Buurman’s “Ghost (Hi)Story of Abstraction” we encounter specters from the past who swept their connections to Nazism under the rug after 1945, but could not get rid of them. She shows how they haunt art history, theory, the German feuilleton, and even the critical German postwar literature. The editor of documenta studies, which we founded together with Carina Herring and Ina Wudtke in 2018, follows these ghosts from the history of German art and probes historical continuities across the decades flanking World War II, which she brings to the fore even where they still remain implicit. Buurman, who also coedited the volume documenta: Curating the History of the Present (2017),I thus uses her own contribution to documenta studies to call attention to the ongoing relevance of these historical issues for our contemporary practices. Let’s consider the Nazi exhibition of so-called Degenerate Art, presented in various German cities between 1937 and 1941, which is often regarded as documenta’s negative foil. To briefly recall the facts: The exhibition brought together more than 650 works by important artists of its time, with the sole aim of stigmatizing them and placing them in the context of the Nazis’ antisemitic racial ideology. -
Oscar Tuazon's
Oscar Tuazon’s (b. 1975 in Seattle) expansive constructions engage with both exterior and interior spaces; they enter into a dialogue with existing architecture, burst its structures, and create new spaces—visible as well as invisible. His work focuses on, among other things, the subject of physical labor and the developmental process involved in an artwork. This is immediately apparent in his pieces that range between sculpture and architecture, as well as in his choice of materials— oftentimes wood, metal, stone, and concrete. Tuazon’s works combine concepts of Land Art with the principles of Minimalism and post- Minimalism and as such link the conception of something abstract with an actual construction; this is marked by extreme physical challenges in the installation phase as well as by continually shifting spatial conditions. The presentation of Oscar Tuazon’s work in the Museum Ludwig is not being shown in the exhibition spaces but, rather, extends throughout the museum’s entire main staircase. On all four levels, visitors will encounter architectural components of a private residence; on the basement level the lower staircase landing is extended into a type of garage door, an intervention that was realized for the new presentation of the collection Not Yet Titled and now announces the current exhibition. The architectural fragments distributed throughout the staircase represent a counter-argument to the existing museum architecture: private and public, institutional space are contrasted with one another and engage in a direct dialogue. As part of his artistic practice Tuazon investigates the history of art since the late 1960s. The content of his art builds on the work of artists such as Carl Andre, Bruce Nauman, Robert Smithson, and Gordon Matta-Clark, and newly situates the discourse on space, material, and labor in contemporary art. -
Press Release
4 rue du marché aux porcs Brussels Gallery Weekend 2018 1000 brussels Gallery Information tel. .32 .2 217 74 00 fax .32 .2 217 74 01 www. dependance.be [email protected] GALLERY name, address, website dépendance varkensmarkt 4 rue du marché aux porcs Brussel 1000 Bruxelles t + 32 (0) 2 217 74 00 www.dependance.be MAIN CONTACT mail, phone number Zoë Denys zd@dependance +32 484 15 42 82 EXHIBITION INFORMATION title, name of the artist, dates Ed Atkins 5 September - 13 October (TBC), 2018 PRESS INFO on the gallery: dépendance was founded in 2003. As part of the avant-garde tradition, the gal- lery sees itself as a link between the artist, the art institutions and the com- mercial art world. Since its founding, the gallery has presented the work of artists who take a social and political stance and operate both inside and outside the established art circuit. The gallery represents twenty seven artists of different generations. dépendance held the first international exhibitions for artists such as Sergej Jensen (2003), Haegue Yang (2004), Michaela Eichwald (2005), Jana Euler (2010) and Peter Wächtler (2013) among others. dépendance was one of the first galleries to open downtown, what later be- came a significant area for young art in Brussels for both commercial and non- profit spaces. As of the 12th of September, 2014 dépendance is operating out of rue du marche aux porcs 4 and 8. The renewed gallery space marks a new phase in the development of dépendance. Gallery artists have been included in international exhibitions such as MoMA, New York (Richard Aldrich and Michaela Eichwald, 2014), Kunsthalle Zurich, Zurich (Jana Euler, 2014), Whitney Museum, New York (Jana Euler, 2013), Documenta 13, Kassel (Thomas Bayrle, Haegue Yang, 2012) the 55th and 54th Venice Biennales (Henrik Olesen, 2013, Oscar Tuazon, Karl Holmqvist, 2011), MoMA PS1, New York (Sergej Jensen, 2011), WIELS, Brussels (Thomas Bayrle, 2013) Kunst Museum Basel (Michaele Eichwald, Nora Schultz, 2013, Henrik Olesen, 2011), Contemporary Art Museum St. -
MEILENSTEINE Die Documenta 1 Bis 14 Dirk Schwarze
MEILENSTEINE Die documenta 1 bis 14 Dirk Schwarze MEILENSTEINE Die documenta 1 bis 14 Kunstwerke und Künstler Inhalt 7 Vorwort 11 documenta (1955) Joan Miró: Komposition (13) • Wilhelm Lehmbruck: Kniende (14) • Henry Moore: König und Königin (17) • Fritz Winter: Komposition vor Blau und Gelb (19) • Pablo Picasso: Mädchen vor einem Spiegel (22) 27 II. documenta (1959) Alberto Giacometti: Drei schreitende Männer (29) • Robert Rauschenberg: Kickback (31) • Marino Marini: Pferd und Reiter (33) • Wassily Kandinsky: Durchgehender Strich (35) 39 documenta III (1964) Egon Schiele: Kauernde (41) • Ernst Wilhelm Nay: documenta-Bilder A, B und C (42) • Harry Kramer: Automobile Skulpturen (45) • Emilio Vedova: Plurimi di Berlino (47) 51 4. documenta (1968) Andy Warhol: Marilyn (53) • Christo und Jeanne-Claude: 5600 Kubik- meter Paket (55) • Konrad Klapheck: Der Krieg (57) • James Rosen- quist: Fire Slide (59) 63 documenta 5 (1972) 4., erweiterte und aktualisierte Auflage 2017 Chuck Close: John (65) • Edward Kienholz: Five Car Stud (67) • Bernd & Hilla Becher: Typologie technischer Bauten (69) • Panamarenko: The © B&S SIEBENHAAR VERLAG, Berlin / Kassel Aeromodeller (71) • Vettor Pisani: L’Eroe da Camera (73) Layout, Satz: B&S SIEBENHAAR VERLAG 97 documenta 6 (1977) Umschlag: VISULABOR® Berlin/Leipzig Haus-Rucker-Co: Rahmenbau (99) • Walter De Maria: Der vertikale Druck und Bindung: druckhaus köthen GmbH & Co. KG Erdkilometer (100) • Hans Peter Reuter: documenta-Raumprojekt (103) • Werner Tübke: Lebenserinnerungen des Dr. jur. Schulze III (105) • Das Werk ist in allen seinen Teilen urheberrechtlich geschützt. Jede Verwertung ist Ulrike Rosenbach: Herakles – Herkules – King-Kong (107) ohne Zustimmung des Verlags unzulässig. Dies gilt insbesondere für Vervielfältigung, Übersetzungen, Mikroverfilmungen und die Einspeicherung in elektronische Systeme. -
Katalog Iv Moderne Kunst
Alberto Burri 1915 – 1995 Sign. u. dat. „Buri 1950“ KATALOG IV MODERNE KUNST AUKTIONEN: KATALOG DONNERSTAG, 24. & FREITAG, 25. SEPTEMBER 2015 CATALOGUE Besichtigung: Freitag, 18. September – Mittwoch, 23. September 2015 IV THURSDAY 24 & FRIDAY 25 SEPTEMBER 2015 FREITAG Exhibition: Friday 18 – Wednesday 23 September 2015 FRIDAY KATALOG I — CATALOGUE I SEPTEMBER-AUKTIONEN DONNERSTAG, 24. UND FREITAG, 25. SEPTEMBER 2015 SEPTEMBER AUCTIONS THURSDAY 24 AND FRIDAY 25 SEPTEMBER 2015 KATALOG IV 25. SEPTEMBER 2015 CATALOGUE IV 25 SEPTEMBER 2015 AUKTIONATOREN AUKTIONSTAGE AUCTION DAYS Dipl. Kfm. Holger Hampel Donnerstag, 24. September 2015 Thursday 24 September 2015 Geschäftsführender Gesellschafter Beginn 10:00 Uhr Starting 10:00 am öffentlich bestellter und vereidigter Auktionator Freitag, 25. September 2015 Friday 25 September 2015 Beginn 10:00 Uhr Starting 10:00 am Vitus Graupner Geschäftsführender Gesellschafter VORBESICHTIGUNG EXHIBITION Freitag 18. September 10 – 17 Uhr Friday 18 September 10 am – 5 pm [email protected] Tel: +49 (0)89 28 804 - 0 (Zentrale) Samstag 19. September 10 – 17 Uhr Saturday 19 September 10 am – 5 pm Sonntag 20. September 10 – 17 Uhr Sunday 20 September 10 am – 5 pm Montag 21. September 10 – 17 Uhr Monday 21 September 10 am – 5 pm Dr. Kristina Krüger Dienstag 22. September 10 – 17 Uhr Tuesday 22 September 10 am – 5 pm [email protected] Mittwoch 23. September 9 – 12 Uhr Wednesday 23 September 9 am – 12 pm Tel: +49 (0)89 28 804 - 0 (Zentrale) Tom Wagner [email protected] INFORMATIONEN -
Listed Exhibitions (PDF)
G A G O S I A N G A L L E R Y Alexander Calder Biography Born in 1898, Lawnton, PA. Died in 1976, New York, NY. Education: 1926 Académie de la Grande Chaumière, Paris, France. 1923–25 Art Students League, New York, NY. 1919 B.S., Mechanical Engineering, Stevens Institute of Technology, Hoboken, NJ. Solo Exhibitions: 2015 Alexander Calder: Imagining the Universe. Sotheby’s S|2, Hong Kong. Calder: Lightness. Pulitzer Arts Foundation, Saint Louis, MO. Calder: Discipline of the Dance. Museo Jumex, Mexico City, Mexico. Alexander Calder: Multum in Parvo. Dominique Levy, New York, NY. Alexander Calder: Primary Motions. Dominique Levy, London, England. 2014 Alexander Calder. Fondation Beyeler, Basel. Switzerland. Alexander Calder: Gouaches. Gagosian Gallery, Davies Street, London, England. Alexander Calder: Gouaches. Gagosian Gallery, 980 Madison Avenue, New York, NY. Alexander Calder in the Rijksmuseum Summer Sculpture Garden. Rijksmuseum, Amsterdam, Netherlands. 2013 Calder and Abstraction: From Avant-Garde to Iconic. Los Angeles County Museum of Art, Los Angeles, CA. 2011 Alexander Calder. Gagosian Gallery, Davies Street, London, England. 2010 Alexander Calder. Gagosian Gallery, W. 21st Street, New York, NY. 2009 Monumental Sculpture. Gagosian Gallery, Rome, Italy. 2005 Monumental Sculpture. Gagosian Gallery, W. 24th Street, New York, NY. Alexander Calder 60’s-70’s. GióMarconi, Milan, Italy. Calder: The Forties. Thomas Dane, London, England. 2004 Calder/Miró. Foundation Beyeler, Riehen, Switzerland. Traveled to: Phillips Collection, Washington, D.C. (through 2005). Calder: Sculpture and Works on Paper. Elin Eagles-Smith Gallery, San Francisco, CA. 590 Madison Avenue, New York, NY. 2003 Calder. Gagosian Gallery, Los Angeles, CA. Calder: Gravity and Grace. -
Karel Appel Born 1921 in Amsterdam, the Netherlands Biography Died 2006 in Zurich, Switzerland
Karel Appel Born 1921 in Amsterdam, The Netherlands Biography Died 2006 in Zurich, Switzerland Education 1942 Royal Academy of Fine Arts, Amsterdam Solo Exhibitions 2019 ‘Figures et Paysages’, Almine Rech, Paris, France ‘Karel Appel : Late Nudes, 1985-1997’, Max Hetzler Gallery, Berlin, Germany 2018 ‘Tête en carton. Collagen 1960 - 1967’, Jahn und Jahn, Munich ‘Out of Nature’, Blum & Poe, Los Angeles 2017 ‘Works on Paper 1945-2006’, Galerie Ulysses, Vienna ‘L’art est une fête !’, Musée d’Art moderne de la Ville de Paris 2016 ‘Der abstrakte Blick’, Emil Schumacher Museum Hagen, Germany ‘A Gesture of Color. Paintings and Sculptures, 1947-2004’, The Phillips Collection, Washington ‘Paintings from Six Decades, Galerie Ulysses, Vienna ‘Karel Appel Retrospectief / Karel Appel Retrospective’, Gemeentemuseum Den Haag, The Hague ‘Reset’, Slewe Gallery, Amsterdam 2015 ‘Works on paper’, Musée national d’art moderne – Centre Pompidou, Paris 2014 ‘Karel Appel’, Blum & Poe, New York 2013 ‘I do not paint, I hit!’, Museum Jorn, Silkeborg, Denmark ‘Paintings, Drawings and Sculpture’, Galerie Ulysses, Vienna 2011 ‘Karel Appel & Van Gogh’, Vincent van Gogh Huis, Zundert, The Netherlands 2010 ‘Paintings from five Decades’, Galerie Ulysses, Vienna 64 rue de Turenne, 75003 Paris 18 avenue de Matignon, 75008 Paris 2009 [email protected] ‘Peintures 2000–2001’, Galerie Lelong, Paris - Abdijstraat 20 rue de l’Abbaye Brussel 1050 Bruxelles 2008 [email protected] ‘The Sixties’, Galerie Ulysses, Vienna - Grosvenor Hill, Broadbent House ‘Jazz -
The Transition of New Tendencies from Neo-Avant- Garde Subculture to Institutional Mainstream Culture
The Transition of New Tendencies from Neo-Avant- Garde Subculture to Institutional Mainstream Culture. An Example of Network Analysis. Kolešnik, Ljiljana Source / Izvornik: Modern and Contemporary Artists' Networks. An Inquiry into Digital History of Art and Architecture, 2018, 84 - 122 Book chapter / Poglavlje u knjizi Publication status / Verzija rada: Published version / Objavljena verzija rada (izdavačev PDF) https://doi.org/10.31664/9789537875596.05 Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:254:605097 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-04 Repository / Repozitorij: PODEST - Institute of Art History Repository The Transition of New Tendencies from Neo-Avant-Garde Subculture INTRODUCTION in the canon of new media art history.156 to Institutional Mainstream Culture. An Example of Network Analysis. In the course of that process – lasting from History of international art movement New 2005 to, approximately, 2010 – archival Tendencies, attracted researchers attention documents on New Tendencies earlier his- DOI: https://doi.org/10.31664/9789537875596.05 just recently, following a (re)discovery of tory, on the events and exhibitions held be- the series of discursive events (seminars, tween 1961 and 1965, were also carefully conferences, colloquia), and exhibitions explored, and explained, but in a manner (Computers and Visual Arts, Tendencije 4, which downplayed, or outright neglected Art and Computers, Tendencije 5), held in the ideological presumptions of the move- Zagreb, at -
JASPER JOHNS 1930 Born in Augusta, Georgia Currently Lives
JASPER JOHNS 1930 Born in Augusta, Georgia Currently lives and works in Connecticut and Saint Martin Education 1947-48 Attends University of South Carolina 1949 Parsons School of Design, New York Selected Solo Exhibitions 2009 Focus: Jasper Johns, The Museum of Modern Art, New York 2008 Jasper Johns: Black and White Prints, Bobbie Greenfield Gallery, Santa Monica, California Jasper Johns: The Prints, The Madison Museum of Contemporary Art, Madison, Wisconsin Jasper Johns: Drawings 1997 – 2007, Matthew Marks Gallery, New York Jasper Johns: Gray, Metropolitan Museum of Art, New York 2007 Jasper Johns: From Plate to Print, Yale University Art Gallery, New Haven Jasper Johns: Gray, Art Institute of Chicago; Metropolitan Museum of Art, New York Jasper Johns-An Allegory of Painting, 1955-1965, National Gallery of Art, Washington, DC; Kunstmuseum Basel, Switzerland States and Variations: Prints by Jasper Johns, National Gallery of Art, Washington, D.C. 2006 Jasper Johns: From Plate to Print, Yale University Art Gallery Jasper Johns: Usuyuki, Craig F. Starr Associates, New York 2005 Jasper Johns: Catenary, Matthew Marks Gallery, New York Jasper Johns: Prints, Amarillo Museum of Art, Amarillo, Texas 2004 Jasper Johns: Prints From The Low Road Studio, Leo Castelli Gallery, New York 2003 Jasper Johns: Drawings, The Menil Collection, Houston, Texas Jasper Johns: Numbers, Cleveland Museum of Art, Cleveland; Los Angeles County Museum of Art Past Things and Present: Jasper Johns since 1983, Walker Art Center Minneapolis; Greenville County Museum of -
CONSTRUCTED SITUATIONS Socialising a Sculptural Practice
Fall$ 08 CONSTRUCTED SITUATIONS socialising a sculptural practice Jack Robins BFA, BFA (Hons, First Class) Tasmanian College of the Arts Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy June 2015 Signed statement of originality This thesis contains no material which has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the thesis, and to the best of my knowledge and belief no material previously published or written by another person except where due acknowledgement is made in the text of the thesis, nor does the thesis contain any material that infringes copyright. Jack Robins Signed statement of authority of access to copying This thesis may be made available for loan and limited copying and communication in accordance with the Copyright Act 1968. Jack Robins Abstract Through a series of large-scale installations, this project has sought to challenge and reactivate the established logic and institution of the gallery. The installations consisted of constructed interventions comprising abstracted spatial conventions. Focussing on physical aspects of specific gallery spaces, the works aimed to provoke audience members to reassess their physical and psychological positions in relation to the use, history and context of gallery situations. The interrogation of diverse gallery spaces then determined a series of liminal environments in which autonomous sculptural objects and installations were made to exist in dialogue. The project built upon the historical legacy of Minimalism, and took up strategies drawn from the Conceptual Art movement, specifically the work of Sol Lewitt, Bruce Nauman and Michael Asher. -
ELIAS HANSEN Born 1979. Lives and Works in Upstate New York
ELIAS HANSEN Born 1979. Lives and works in Upstate New York. EDUCATION 2001 New Orleans School of Glass and Print, New Orleans, LA Larson Red Angus Ranch, Big Timber, MT 1997 Whitman College, Walla Walla, WA – Printmaking and book arts SELECTED SOLO EXHIBITIONS 2014 Oh brother (with Oscar Tuazon), Maccarone, New York, NY You can cry all you want, but you ain’t changing shit, Jonathan Viner, London, UK. I'm a long way from home and I don't really know these roads, Anat Ebgi, Los Angeles, CA 2013 Solo presentation LISTE 18, Basel, CH 2012 We're just in it for the money (with Oscar Tuazon), Balice Hertling, Paris, FR We Barely made it (with the Reader), The Company, Los Angeles 2011 Certainly couldn’t have learned it on my own, Frieze Frame, Jonathan Viner It wasn’t until I found it later, The Fireplace Projects, Hamptons, NY You know we’re nowhere near there, right?, Jonathan Viner, London, UK Next time, they’ll know it’s us, The Company, Los Angeles, CA 2010 This is the Last Place I Could Hide, Maccarone, New York, NY We Used To Get So High, Lawrimore Project, Seattle, WA It Was One of My Best Comes (with Oscar Tuazon), Parc Saint Leger, Pougues Les Eaux, FR Predicting the Present, The Company, Los Angeles, CA 2009 Truths We Forgot to Lie About (with Joey Piecuch), The Helm Gallery, Tacoma, WA 2008 Kodiak, Seattle Art Museum (with Oscar Tuazon), Seattle, WA This world’s just not real to me, Howard House Contemporary Art (with Oscar Tuazon), Seattle, WA 2007 Voluntary Non vulnerable, Bodgers and Kludgers Cooperative Art Parlour (with Oscar