DOCSLIB.ORG

Galerie Emanuel Layr Seilerstätte 2 1010 Vienna T

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Galerie Emanuel Layr Seilerstätte 2 1010 Vienna T GALERIE EMANUEL LAYR T +43 1 945 1791 SEILERSTÄTTE 2 [email protected] 1010 VIENNA WWW.EMANUELLAYR.COM GAYLEN GERBER *1955 M!A""#$ T#%&' L()#' &$* +,-.' ($ C/(!&0, I""($,(' E1UCATION 1920 M3A T/# S!/,," ,4 5/# A-5 I$'5(565# ,4 C/(!&0, C/(!&0, IL 1977 BS. S5&5# U$()#-'(57 ,4 N#+ Y,-. B-,!.8,-5 NY SELECTE1 SOLO E9:IBITIONS AN1 COO;ERATIVE ;RO<ECTS 2012 G&7"#$ G#-=#- T/# A-5' C"6= ,4 C/(!&0, USA 2017 G&7"#$ G#-=#- G&"#-(# E>&$6#" L&7- R,># I5&"7 201? G&7"#$ G#-=#- G&"#-(# E>&$6#" L&7- V(#$$& A6'5-(& G&7"#$ G#-=#- @ S56*(, 4,- ;-,8,'(5(,$&" C($#>&A E%/(=(5(,$ BUB ;-,C#!5' B6$'5/&6' B-#0#$D B-#0#$D A6'5-(& E+(5/ B#-'5($ B-F5'!/ 1&$(#" B6-#$ B#-#$ C755#- <,/$ M(""#- ;&8(#- 6$* G#"= R&*(, 1&$(G" A6-& R,'#$=#-0 "#$& W(""(.#$' @ S&-&/ SD!D#'$7 R#>7 H&600 :#(>, H,=#-$(0I 2015 B#-'5($ B-F5'!/ ;#"#J' C6-'# T/# A-5' C"6= ,4 C/(!&0, C/(!&0, I""($,(' E+(5/ B#-'5($ B-F5'!/ &$* M&-(#!/#$ 1&$DI G&"7#$ G#-=#- S56*(, 4,- ;-,8,'(5(,$&" C($#>& 16''#"*,-4 T/# A-5' C"6= ,4 C/(!&0, B#-'5($ B-F5'!/ !6-&5,-(&" ($),")>#$5 C/(!&0, IL G&"7#$ G#-=#- ;&-. M!A-5/6- <(> N655 G&"#-(# E>&$6#" L&7- V(#$$& 2014 G&7"#$ G#-=#- T/# G-##$ G&""#-7 M("+&6.## WI 2013 G&7"#$ G#-=#- M6'#6> ,4 C,$5#>8,-&-7 A-5 C/(!&0, IL A-5'!/+&0#- 1AS INSTITUT EB#-'5($ B-F5'!/ &$* A*#"# RK*#-I +(5/ A""(',$ B&5D C&*7 N,"&$* <(> N655 :. C. W#'5#->&$ G&7"#$ G#-=#-LT7',$ R##*#- ;&-&*('# G&-&0# V#$(!# CA 2012 W&""'8&!# +(5/ L(D 1#'!/#$#' A*-(&$ S!/(#'' &$* :#(>, H,=#-$(0 N#+ Y,-. NY G,"*#$ +(5/ R(!/&-* A-5'!/+&0#- &$* <,/$ :#$*#-',$ N#+ Y,-. NY 3&>("7 B6'($#'' +(5/ <,/$ :#$*#-',$ &$* 1AS INSTITUT +(5/ A""(',$ B&5D N#+ Y,-. NY 2011 R#$+(!.G&""#-7 +(5/ B&5/-7$ A$*-#+' N(!/,"&' C6#)& B&7 R,'#$ &$* <#$( S8,5& N#+ Y,-. NY 2010 W("" B#$#*(!5 N#6# A"5# B-M!.# 3-&$.46-5 G#->&$7 E+(5/ W("" B#$#*(!5I G&7"#$ G#-=#- W&""'8&!# N#+ Y,-. N#+ Y,-. E+(5/ S5#8/#$ ;-($&I G&7"#$ G#-=#- R/,$& :,44>&$ G&""#-7 C/(!&0, I""($,(' E+(5/ B#/($*# W("#7I G&7"#$ G#-=#- B6$'5)#-#($ R6/- E''#$ G#->&$7 G&7"#$ G#-=#- G&"#-(# S6'&$$& B6""( HM-(!/ S+(5D#-"&$* G&7"#$ G#-=#- T/# G-##$ G&""#-7 M("+&6.## W('!,$'($ 2009 W&""'8&!# +(5/ <,# S!&$"&$ N#+ Y,-. NY R,+"#7 B#$$#-. G&""#-7 +(5/ S!,55 R##*#- &$* R#>7 H&600 C/(!&0, IL W/(5# 3"&0 ;-,C#!5' S5. L,6(' MI 2002 R,+"#7 B#$$#-. G&""#-7 +(5/ L,6('# L&+"#- &$* A""&$ M!C6"",> A*-(&$ S!/(#'' 6$(*#$5(4(#* &-5('5 &$* 201:#(>, H,=#-$(0 C/(!&0, IL A",0,$ A",0,$ G&""#-7 +(5/ N&$!7 3,-* C/&-"#' I-)($ <,'N L#->& A656>$ R&>'#7 S!,55 R##*#- &$* T7',$ R##*#- C/(!&0, IL R,5&5(,$' E,$# +,-.IA G&7"#$ G#-=#- R,+"#7 B#$$#-. G&""#-7 C/(!&0, IL T/# G-##$ G&""#-7 M("+&6.## WI 2007 1&$(#" :60 G&""#-7 +(5/ T7',$ R##*#- &$* :#(>, H,=#-$(0 L,' A$0#"#' CA 200? 3,6$*&5(,$ M6'## *OA-5 M,*#-$# G-&$*P16! <#&$ +(5/ <,# B&"*+($ 1&$(#" B6-#$ <#''# C/&8>&$ M&-7 16$$($0 M(!/#""# G-&=$#- C/&-"#' I-)($ A"=#-5 O#/"#$ S5#8/#$ ;-($& T7',$ R##*#- B&7 R,'#$ S&> S&"('=6-7 <,# S!&$"&$ A*-(&$ S!/(#'' <6"(#$ S!/$&=#" 1(*(#- V#->#(-#$ B. W6-5D RN>7 H&600 :#(>, H,=#-$(0 L6%#>=,6-0 LU GALERIE EMANUEL LAYR T +43 1 945 1791 SEILERSTÄTTE 2 [email protected] 1010 VIENNA WWW.EMANUELLAYR.COM 2005 1&$(#" :60 G&""#-7 +(5/ A*-(&$ S!/(#'' B. W6-5D&$* R#>7 H&600 L,' A$0#"#' CA G&"#-(# S6'&$$& B6""( +(5/ A*-(&$ S!/(#'' &$* :#(>, H,=#-$(0 H6-(!/ C: 2004 1,$&"* Y,6$0 G&""#-7 +(5/ <,# B&"*+($ <#''# C/&8>&$ M@C, N55 M(!/&#" L&$0",(' &$* R,=#-5 1&)(' M&-7 16$$($0 M(!/#""# G-&=$#- <#44 M!M&/,$ I-($& M#"',> S5#8/#$ ;-($& B&7 R,'#$ S&> S&"('=6-7 A*-(&$ S!/(#'' B.W6-5D C/(!&0, IL G#$#-&" S5,-# +(5/ :#(>, H,=#-$(0 M("+&6.## WI 2002 T/# A-5 I$'5(565# ,4 C/(!&0, +(5/ S5#8/#$ ;-($& C/(!&0, IL G&"#-(# M(!/&#" :&"" +(5/ :#"#$ M(--& V(#$$& AT T/# S6=6-=&$ +(5/ <,# B&"*+($ <#''# C/&8>&$ M&-7 16$$($0 I-($& M#"',> O&. ;&-. IL 2000 N#6#' M6'#6> W#'#-=6-0 B-#>#$ +(5/ <,'#8/ B#67'Q !,$5($6#* +(5/ L7$*& B#$0"(' R&!/&#" L&!.,+(!D <,$&5/&$ M,$. B(-'5#$ S5,"5>&$$ <,/&$$#' W,/$'#(4#-Q !,$5($6#* +(5/ ;(#--# A"#!/($'.7Q !,$5($6#* +(5/ B"&6.# B-#>#$ 1E 1999 C/(!&0, ;-,C#!5 R,,> C/(!&0, IL T/# S6=6-=&$R+(5/ 1&)(* R,==($'Q !,$5($6#* +(5/ S,45+&-# O99 ,-0&$(D#* =7 1&)(* M6""#- &$* T/-## 1&7 W##.#$* O&. ;&-. IL :#->#5(! G&""#-7 +(5/ A*-(&$ S!/(#''Q !,$5($6#* +(5/ ;&($57A 1&)(* B&('#- L('& S/&4(- S!,55 S8#! N#(" W/(5&!-#Q !,$5($6#* +(5/ ;-#5#$* TV M("+&6.## WI 1992 M,$&'/ U$()#-'(57 G&""#-(#' M#"=,6-$# AU :(0/ M6'#6> ,4 A-5 A5"&$5& GA C/(!&0, ;-,C#!5 R,,> C/(!&0, IL 1997 G&"#-(# S6'&$$& B6""( +(5/ G#-+&"* R,!.#$'!/&6= S5.G&""#$ C: C/(!&0, ;-,C#!5 R,,> A>7 W/##"#- &$* M&-( E&'5>&$ +(5/ G&7"#$ G#-=#-Q !,$5($6#* +(5/ C/&-"(# C/,Q !,$5($6#* +(5/ :#"#$ M(--& C/(!&0, IL 199? L('',$ G&""#-7 L,$*,$ UB 1995 A>#-(!&$ 3($# A-5' C,. +(5/ R,7 A-*#$ N#+ Y,-. NY 1994 N(!,"# B"&0'=-6$ G&""#-7 +(5/ <,# S!&$"&$ N#+ Y,-. NY 1992 M(!/&#" B,/$ G&""#-7 S&$5& M,$(!& CA W,,'5#- G&-*#$' N#+ Y,-. NY T/# R#$&(''&$!# S,!(#57 &5 5/# U$()#-'(57 ,4 C/(!&0, C/(!&0, IL 1991 3,6$*($0 ,4 5/# A$,$7>,6' M6'#6> C/(!&0, IL R,==($ L,!.#55 G&""#-7 C/(!&0, IL 1990 L# C&'# *OA-5# M("&$ IT W,"44 G&""#-7 N#+ Y,-. NY S/#*/&""# H6-(!/ C: 1929 G&"#-(# N&!/'5 S5.S5#8/&$L R,'#>&-(# S!/+&-D+&"*#- V(#$$& AT R,==($ L,!.#55 G&""#-7 C/(!&0, IL 1922 W,"44 G&""#-7 N#+ Y,-. NY R,==($ L,!.#55 G&""#-7 C/(!&0, IL 1927 G-#7 A-5 G&""#-7 &$* S56*7 C#$5#- &5 N#+ Y,-. U$()#-'(57 N#+ Y,-. NY SELECTE1 GROU; E9:IBITIONS AN1 COO;ERATIVE ;RO<ECTS 2020 T/# M&.($0 ,4 :6'=&$*'A C/-('5($& R&>=#-0 ($ 1(&",06# 3RAC L,--&($# M#5D E3RI 2019 T/# M&.($0 ,4 :6'=&$*'A C/-('5($& R&>=#-0 ($ 1(&",06# BW I$'5(565# 4,- C,$5#>8,-&-7 A-5 B#-"($ E1EI O'", B(#$$&"#$ 3(-'5 E*(5(,$ O'", ENOI 2012 CAC V("$(6' L(5/6&$(& 2017 B#-'5($ B-F5'!/. I$$,)&5(,$ M6'#6> B-&$*/,-'5 M6$(!/ G#->&$7 S56*(, 4,- ;-,8,'(5(,$&" C($#>&L($ -#"&5(,$ 5, & S8#!5&5,- S56*(, 4,- ;-,8,'(5(,$&" C($#>& B#'5$#-0#'#""'!/&45 :&$$,)#- G#->&$7 201? T/# L&'5($0 C,$!#85 ;,-5&$* I$'5(565# ,4 C,$5#>8,-&-7 A-5 ;,-5"&$* O-#0,$ E+(5/ R(!/&-* A"*-(!/ E"(D&=#5/ B('/,8 L,6('# B,6-0#,(' <&7$# C,-5#D GALERIE EMANUEL LAYR T +43 1 945 1791 SEILERSTÄTTE 2 [email protected] 1010 VIENNA WWW.EMANUELLAYR.COM R,=#-5 C-##"#7 <(>>(# 16-/&> M#")($ E*+&-*' R,=#-5 G-#$(#- R,= :&")#-',$ B("" :&7*#$ @ S&> ;6"(5D#- G&-#5/ <&>#' Y6.( B(>6-& N#)($# M&/>,6* C/-('5,8/ M#(#- <#&$PL6! M,6"G$# G#,-0# O88#$ N&5/&$(#" T ;-(!# S&-& G-##$=#-0#- R&44#-57 A$$# S#%5,$ <&!. S8(!#- S6# T,>8.($' 1($&/ Y,6$0 S5#4&$ T!/#-#8$($I 2015 G&7"#$ G#-=#- ;&-. M!A-5/6- <(> N655 G&"#-(# E>&$6#" L&7- V(#$$& A6'5-(& E+(5/ ;&-. M!A-5/6- &$* <(> N655I 3-(*&7 <6"7 31 2015 E''#% S5-##5 N#+ Y,-. NY 2014 S,45 M&55#- !6-&5#* =7 <6'5($ B#&" W&""'8&!# N#+ Y,-. NY N6!"#&- W&-A W/&5J' ($ (5 4,- 7,6S !6-&5#* =7 W("" B#$#*(!5 V(">& G,"* L,$*,$ UB B&!. G-,6$*'A I>8-#''(,$' ;/,5,0-&8/(T6#' E2I ,-0&$(D#* +(5/ O"()(#- R#$&6*PC"##>#$5 A$*-#& R,'#$ G&""#-7 N#+ Y,-. NY W/(5$#7 B(#$$(&" +(5/ 1&)(* :&>>,$' S/#--(# L#)($# &$* T-#),- S/(>(D6 W/(5$#7 M6'#6> ,4 A>#-(!&$ A-5 N#+ Y,-. NY ;&-&>,6$5 R&$!/ +(5/ <&$# E6"#- M(!/&#"& R(!/+&".* :#$$($0 B,/" &$* W,"40&$0 B-#6#- ;-, C/,(!# L,' A$0#"#' CA N(0/5 C"6= +(5/ L6!(# 3,$5&($# B-#$*&$ 3,+"#- &$* A656>$ R&>'#7 C/(!&0, IL 2013 T#$ Y#&-' W&""'8&!# N#+ Y,-. NY 2012 T/# C/&-> ,4 U6&'(P;&-&""#" L($#' +(5/ R&7 A.*,0#$ G#0, G&7"#$ G#-=#- 3#->&$*& G,>#' G6(""&6># L#=",$ S," L#W(55 R,=#-5 O)#-=7 B&-5/(. ;&$*(&$ R,=#-5 R7>&$ 3-#* S&$*=&!. R/,$& :,44>&$ G&""#-7 C/(!&0, IL G&7"#$ G#-=#- M6'#6> ,4 C,$5#>8,-&-7 A-5 C/(!&0, IL G&7"#$ G#-=#-LT7',$ R##*#- ;&-&*('# G&-&0# V#$(!# CA T/# B(0 T,#R+(5/ A*-(&$ S!/(#'' W&""'8&!# N#+ Y,-. NY L#' 1#'5,6-' *# "O&='5-&!5(,$ +(5/ B. W6-5D &$* M(!/#""# G-&=$#- 3,6$*&5(,$ M6'N# *OA-5 M,*#-$# G-&$*P16! <#&$ L6%#>=,6-0 LU S/()#- ($ T/# S/(45 +(5/ B&C'& 1&/"=#-0 B&-" L&-'',$ &$* L('& T&$ ;&--& @ R,>#-, G&""#-7 M&*-(* ES S8#!5-&" L&$*'!&8# +(5/ V(#+($0 S5&5(,$'LC,",- &$* C,$5#>8,-&-7 A-5 +(5/ ;,""7 A84#"=&6> A"( B&("#7 <,/$ B&"*#''&-( M&*(',$ B-,,.'/(-# H&!/ B6!/$#- <&!,= 1&/"0-#$ <,'# 1&)("& G&-7 :("" R&'/(* <,/$',$ A$$& B6$D <6*7 L#*0#-+,,* IV(0, M&$0"&$,PO)&""# &$* R(!/&-* M,''# G&""#-7 400 C/(!&0, IL 2010 W("" B#$#*(!5 +(5/ W("" B#$#*(!5 N#6# A"5# B-M!.# 3-&$.46-5 1E 1-&+($0 T(>#L"# 5#>8' *6 *#''($ ,-0&$(D#* =7 B&0/-(!/# B&5($.& B,!.
Load more

Recommended publications
  • Interviste E Conversazioni
    Interviews with Michelangelo Pistoletto Marcello Venturoli, Dialogo con Pistoletto, in “Tutti gli uomini dell’arte”, Milano, 1968 Guido Boursier, Far scattare nella gente meccanismi di liberazione, in “Sipario”, n. 276, Milano, April 1969 Germano Celant, Intervista con Michelangelo Pistoletto, Genova, February 1971, in Germano Celant, “Michelangelo Pistoletto”, catalogue of the exhibition, Palazzo Grassi, Venezia, 1976 (Ed. Electa) Achille Bonito Oliva, Michelangelo Pistoletto, Torino 1972, in “Enciclopedia della parola. Dialoghi d'artista. 1968-2008”, ed. Skira, Milano 2008 Mirella Bandini, Torino 1960-73, in “Nac”, n. 3, Bari, March 1973, re- published in Mirella Bandini, “1972 - Arte Povera a Torino”, Allemandi Editore, Torino, 2002 Mirella Bandini, Il significato di Gallizio per la nuova generazione, in “Pinot Gallizio e il laboratorio sperimentale d’Alba”, catalogue of the exhibition, Galleria Civica d’Arte Moderna, Torino 1974 Umberto Allemandi, Specchio delle mie brame, in “Bolaffi Arte”, anno VII, n. 57, Milano, February - March 1976 Francesco Prestipino, Viaggio nelle stanze di Michelangelo Pistoletto, in “Le Arti”, anno XXVI, n. 4, Milano, April 1976 l.k.. Un palcoscenico tutto bianco, in “La Repubblica”, Roma, 10 June 1977 Giuseppe Risso, Pistoletto. Datemi uno specchio, in “Gazzetta del Popolo”, Torino, 4 May 1978 no author (the name of the author of the interview is not mentioned in the publication, henceforth abbreviated n.a.), Pistoletto an 14 Orten in Berlin, transcript of the conference/debate with Pistoletto at Hochschule der Künste, 3 November 1978, in “Kunstmagazin”, n. 4, Mainz, 1978 Anne Livet, An Interview with Maynard Jackson and Michelangelo Pistoletto, in “Contemporary Art/Southeast, Volume II, n. 2, Michelangelo Pistoletto in the South”, Atlanta 1979 Michael Auping, Venus of the rags, 18 December 1979, Berkeley, in 30 years interviews and outtakes, ed.
    [Show full text]
  • CV Photo/Ciel Variable, Montreal, No
    A N G E L A G R A U E R H O L Z Recognition and Awards (Visual Arts) 2018 Honorary Doctorate Emily Carr University of Art + Design, Vancouver 2017 150 Years of Photography / Canada 150 Commemorative Collection, 2017 Canada Post, Ottawa 2015 Recipient of the Scotiabank Photography Award, Toronto 2014 Recipient of the Governor General Award in Visual and Media Arts, Canada Council for the Arts, Ottawa 2013 Shortlisted for the Scotiabank Photography Award, Toronto 2006 Awarded the Prix Paul-Émile Borduas, Government of Quebec, Quebec Solo exhibitions 2019 The Empty S(h)elf – First iteration, Artexte, Montreal The Book is the Book, installation at the Madras Literary Society (library), 2019 Chennai Photo Biennale, Chennai Angela Grauerholz: Écrins, écrans, McIntosh Gallery, Western University, London, ON 2018 Scotiabank Contact Festival / Olga Korper Gallery, Toronto Art 45, Montréal 2016 Angela Grauerholz (Scotiabank Photography Award), Ryerson Image Centre, Toronto Angela Grauerholz/Écrins, écrans, Canadian Cultural Centre/Centre culturel canadien, Paris 2014 Olga Korper Gallery, Toronto 2012 Art 45, Montreal 2011 Olga Korper Gallery, Toronto Angela Grauerholz: The inexhaustible image…épuiser l’image, University of Toronto Art Centre (UTAC), Toronto 2010 Angela Grauerholz: The inexhaustible image…épuiser l’image, National Gallery of Canada/Musée des beaux-arts du Canada, Canadian Museum of Contemporary Photography/Musée canadien de la photographie contemporaine (CMCP), Ottawa (book/catalogue) McMaster Museum of Art, McMaster University,
    [Show full text]
  • The Work of Giorgos Kontis (B.1981 Athens) Focuses on Abstract Painting and on Its Function As an Image
    The work of Giorgos Kontis (b.1981 Athens) focuses on abstract painting and on its function as an image. It becomes a contemplation on the autonom! the painted image gains, triggering #uestions on authenticity and the artistic agency. Giorgos studied at the Athens $chool of %ine Arts, at the Academ! of &isual Arts (Ad'K) in Munich and at the Uni*ersity of Arts (UdK) in 'erlin. +e did a (%A at $t.Joost Academ! in 'reda" -etherlands, and he holds a practice based .h/ in Painting" from the 0oya 1ollege of Art in 2ondon" on the notion of Authenticity. +e li*es and works in 'erlin and Athens. $o o $hows 3419 Mother Tongue" 1ru5 Galerie" Athens, Greece. 1urated b! Katerina -ikou The Threatening Image" Ph/ &i*a 65hibition" +ockne! Galler!" 01A, 2ondon" UK 3417 Ian Kiaer Presents Giorgos Kontis" Ian Kiaer8s studio, 'ow Arts 2ondon" UK 3419 0" Galerie Kunstbuero, &ienna Art %oundation (with Just :uist)" &ienna" Austria 341; Winter Kept Us Warm" 6urocontrol +ead#uarters, 'russels, 'elgium Let Gooo project" 0uimte 1aesuur" Middelburg" -etherlands. 1urated b! Just :uist 3414 Kaplanon < Galler!" Athens, Greece Group $hows 3434 The Space of Emplacement (works from the 1hristos 1hristofis 1ollection)" $tudio53 Galler!" Athens, Greece Art-Athina !"nline E#ition$" 1ru5 Galerie" Athens" Greece -ationa Theatre of -orthern Greece" 65hibition accompan!ing the pla! =The 'irds” %uarantine E&hi'ition !"nline$" $tudio53 Galler!" Athens, Greece. 1urated b! /ionisis 1hristophilogiannis, $otirios 'ahtsetzis, 2!dia Pribisova" -icolas &am*ouklis In Praise of Sha#ows" Ione and Mann Galler!" 'elgra*ia 2ondon" UK Someone Else)s *ostalgia" 1ru5 Galerie" Athens" Greece.
    [Show full text]
  • Editions 1986 - 2021 1986 Editions
    EDITIONS 1986 - 2021 1986 EDITIONS IAN ANÜLL Pile-Face Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’800.- MARC CAMILLE CHAIMOWICZ Haunted * Sometimes * Regrets * Perhaps Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. Sold out Les soeurs folles Edition du Centre genevois de gravure contemporaine, Genève, 1986. CHF. 3’000.- the two prints La grande fenêtre Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’200.– per print Les jardins botaniques d’Adelaide I Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’500.– per print Les jardins botaniques d’Adelaide II Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’500.– per print Les enfants prodigues I Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 900.– per print Les enfants prodigues II Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 900.– per print Après Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 900.– per print Cuivre-Zinc Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’200.– per print La première des deux sœurs Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’000.– per print La deuxième des deux sœurs Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’000.– per print Pour Balthazar Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 800.– per print A Search Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 800.– per print La première aquatinte Edition of the Centre genevois de gravure contemporaine, Geneva, 1986.
    [Show full text]
  • Part 3: Rebirth Partner
    28 HUO: Normally I ask two last questions but you already Hans-Ulrich Obrist, answered one of them when we did the talk at the Ser- Michelangelo Pistoletto pentine gallery. It was the question about the future. You said: ‘The future for me is not about the possession of the world; it is about making love with the world. It is our Part 3: Rebirth partner. If you make love with the world, you have to love humanity. If you love humanity, you love yourself.’ But the question you have not answered yet is my recurrent ques- tion about unrealized projects, projects that were too big to realize, or too small to realize. When I asked you this question for the last time, in 1996, you answered with a very empty space you wanted to insert into a city. It was a cage—you wanted an empty cage in a city. That was your as yet unrealized project. MP: I did realise it. It was exhibited, and it is called Free Space. It is free for everybody and can be everybody’s space. It was good as the work was carried out by the occupants of a prison in Milan. I said: I want to do a work with you that brings you out of the prison. But this ‘outside of prison’ was in the centre of the prison. It was a free cage for everybody, because your mind should be free. And this is the cage that opens your mind. And they understood. They were very happy to do it.
    [Show full text]
  • Magiciens De La Terre and Multiple Histories of Curating Global Art in Paris
    Magiciens de la Terre and Multiple Histories of Curating Global Art in Paris by Caitlin Elizabeth Duerler A thesis submitted to the School of Art, Kathrine G. McGovern College of the Arts in partial fulfillment of the requirements for the degree of MASTER OF ARTS in Art History Chair of Committee: Sandra Zalman Co-Chair of Committee: Rex Koontz Committee Member: Alison de Lima Greene University of Houston May 2020 Copyright 2020, Caitlin Elizabeth Duerler DEDICATION This thesis is dedicated to my two blessings, Miguel and Pappas Chávez. iii ACKNOWLEDGEMENTS I would like to extend gratitude to individuals and institutions which support me during my thesis project. First and foremost, I would like to thank my thesis advisor Dr. Zalman for her valuable guidance and compassion. I also must thank Dr. Koontz and Alison de Lima Greene for serving on my committee and providing indispensable advice. Other individuals who supported me during this time include my graduate cohort, Hector Garcia, Tori Nerey and Sheila Scoville and honorary grad student Gilbert Baca. I am also grateful for the art history faculty in the School of Art, the Art and Architecture library, the archives at the Centre Pompidou and the Hirsch Library at the Museum of Fine Arts, Houston. Lastly, I am thankful for the support from my family. iv ABSTRACT Curator Jean-Hubert Martin’s 1989 exhibition Magiciens de la terre is considered the first exhibition of global contemporary art, displaying recent works by 50 Western and 50 Nonwestern artists. Most of the scholarship concerning Magiciens focuses on its legacy, including critiques of the exhibition model in addition to the show serving as a springboard for subsequent exhibitions of global contemporary art.
    [Show full text]
  • Neuhaus, Drawings, Max Hutchinson Gallery, New York
    Max Neuhaus b. 1939, Beaumont, Texas, USA Biography 1955-57 Studied percussion at the Manhattan School of Music 1961 Diploma in music 1964 Recitals at the Carnegie Hall, New York 1967 First sound installation List of Sound Works 1966/76 Listen, 15 sound walks, various locations in USA and Canada 1966 Public Supply I, WBAI, New York Max-Feed, New York 1966/67 American Can, New York By-Product, New York 1967/68 Drive-in Music, Lincoln Parkway, Buffalo, New York 1968 Fan Music, rooftops of 137-141 Bowery, New York Southwest Stairwell, Ryerson University, Toronto Telephone Access, New York Public Supply II, CJRT, Toronto 1970 Public Supply III, WBAI, New York 1971 Water Whistle I, New York University, New York Water Whistle II, Newark State College, Newark 1972 Water Whistle III, Walker Arts Center, Minneapolis Water Whistle IV, California Institute for the Arts, Newhall Water Whistle V, University of California, La Jolla Water Whistle VI, State University of New York, Buffalo Water Whistle VII, Jewish Community Center, Buffalo Water Whistle VIII, University of South Florida, Tampa Water Whistle IX, Central Michigan University, Mount Pleasant Water Whistle X, Michigan State University, East Lansing 1973 Water Whistle XI, York University, Toronto Water Whistle XII, Everson Museum, Syracuse Water Whistle XIII, University of Southern California, Los Angeles Public Supply IV, WFMT, Chicago Water Whistle XIV, Rochester Institute of Technology, Rochester 1973-77 Walkthrough, Jay Street subway station, New York 1974 Water Whistle XV, Leo Castelli Gallery, New York Water Whistle XVI, John Weber Gallery, New York Water Whistle XVII, Sonnabend Gallery, New York Listen, Editorial New York Times 1975 Drive-in Music, Lewiston State Arts Park, New York 1976 Round, Old U.
    [Show full text]
  • Parkett : the Parkett Series with Contemporary Artists = Die Parkett- Reihe Mit Gegenwartskünstlern
    Objekttyp: Advertising Zeitschrift: Parkett : the Parkett series with contemporary artists = Die Parkett- Reihe mit Gegenwartskünstlern Band (Jahr): - (2002) Heft 66: Angela Bulloch, Daniel Buren, Pierre Huyghe PDF erstellt am: 06.10.2021 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch SOLUTION TO COMPETITION IN PARKETT NO. 66/ AUFLÖSUNG DER PREISFRAGE IN PARKETT NR. 66 No one was able to identify the oil painting by MORTON SCHAMBERG, MECHANICAL AB- STRACTION, 1916, 30'/s x 20'A", Philadelphia Museum of Art; The Louise and Walter Arens- berg Collection. Niemand hat das Gemälde von MORTON SCHAMBERG erkannt. The three Postcard Sets for the most imagina- tive or accurate replies go to / Die drei Postkarten-Sets für die originellsten Antworten gehen an: 1.Janae Easton, Tallahassee FL (Deluxe Coffee Machine, yummmm) 2.
    [Show full text]
  • STEPHEN ANTONAKOS Laconia, Greece 1926 — New York 2013
    STEPHEN ANTONAKOS Laconia, Greece 1926 — New York 2013 Antonakos’s work with neon since 1960 has lent the medium new perceptual and formal meanings in hundreds of gallery and museum exhibitions first in New York and then internationally. His use of spare, complete and incomplete geometric neon forms has ranged from direct 3-D indoor installations to painted Canvases, Walls, the well known back- lit Panels with painted or gold surfaces, his Rooms and Chapels. Starting in the 1970s he installed over 55 architecturally-scaled permanent Public Works in the USA, Europe, Israel, and Japan. Throughout, he conceived work in relation to its site — its scale, proportions, and character — and to the space that it shares with the viewer. He called his art, “real things in real spaces,” intending it to be seen without reference to anything outside the immediate visual and kinetic experience. Colored pencil drawings on paper and vellum, often in series, have been a major, rich practice since the 1950s; as has his extensive work with collage. Other major practices include the conceptual Packages, small-edition Artist’s Books, silver and white Reliefs, prints, and — since 2011 — several series of framed and 3-D Gold Works. Antonakos was born in the small Greek village of Agios Nikolaos in 1926 and moved to New York with his family in 1930. In the late 1940s, after returning from the US Army, he established his first studio in New York’s fur district. From the early 1960s forward, until the end in 2013, he worked in studios in Soho. EXHIBITIONS 2018 to 2019 “Antonakos: The Room Chapel” Curated by Elaine Mehelakes — Allentown Art Museum, Allentown, PA, May 6, 2018 - May 5, 2019 2018 “Antonakos: Proscenium” Curated by Helaine Posner — Neuberger Museum of Art, SUNY Purchase, NY, Jan.
    [Show full text]
  • Cristina Iglesias.Pdf
    ' H H I CRISTINA IGLESIAS Cristina Iglesias edited by CARMEN GIMENEZ GUGGENHEIM MUSEUM CRISTINA IGLESIAS curated by Carmen Gimenez Solomon R. Guggenheim Museum, New York June 18 - September 7, 1997 The Renaissance Society, Chicago November 1997 - January 1998 Museo Nacional Centro de Arte Reina Sofia, Madrid Palacio de Velazquez February 5 - April 20, 1998 Guggenheim Museum Bilbao Summer 1998 This exhibition and accompanying catalogue have been made possible by generous grants from the Ministerio de Education y Cultura, Direction General de Bellas Artes y Bienes Culturales (Ministry of Education and Culture of Spain, General Department of Fine Arts) and Carolina Herrera. CATALOGUE Concept by Cristina Iglesias Design by Leopold en Zonen, Ghent, Belgium Production by Ediciones ElViso, Santiago Saavedra, Madrid Printed in Spain © 1997 The Solomon R. Guggenheim Foundation, New York, All rights reserved ISBN 0-8109-6904-1 (hardcover) ISBN 0-89207-189-3 (softcover) Guggenheim Museum Publications 1 07 1 Fifth Avenue New York, New York 10128 Hardcover edition distributed by Harry N. Abrams, Inc. 100 Fifth Avenue New York, New York 100 11 PHOTO CREDITS Luis Asin (Madrid), Javier Azurmendi (Madrid), Kristien Daem (Ghent), Dorothee Fischer (Dusseldorf), Claire Garoutte (Seattle), Antxon Hernandez (San Sebastian), Atillio Maranzano (Rome), Dimitris Tamviskos (Athens), Werner Zellien (Berlin), and Cristina Iglesias PREFACE THOMAS KRENS Cristina Iglesias's work exemplifies the great strength and imagination of Spanish art today. One of an emerging generation of artists from this country, Iglesias creates work that is both innovative and connected to the past. Her archetypal forms and lyrical structures redefine our perceptions of architectural and natural spaces; her intri- cate surfaces and tactile materials are rooted in the rich aesthetic heritage of her native region.
    [Show full text]
  • Antologia Critica in Catalogo GNAM, Roma, 1990
    Main critical essays on Michelangelo Pistoletto In order to facilitate the availability of some of the earliest critical essays listed here, is reported their reproduction in the catalogs of some solo exhibitions of the artist indicated with place and year of their occurrence. Luigi Carluccio, unitled, in Michelangelo Pistoletto, catalogue of the exhibition, Galleria Galatea, Torino, April 1960 Reproduced in: Firenze, 1984; Roma, 1990 Luigi Carluccio, untitled, in Michelangelo Pistoletto, catalogue of the exhibition, Galleria Galatea, Torino, April 1963 Reproduced in: Genova, 1966; Firenze, 1984; Roma, 1990 Angelo Dragone, Michelangelo Pistoletto, in “La Stampa”, Torino, 6 May 1963 Partially reproduced in: Roma, 1990 Alain Jouffroy, untitled; Tommaso Trini, untitled; Michael Sonnabend, untitled, in Michelangelo Pistoletto, catalogue of the exhibition, Galerie Ileana Sonnabend, Paris, March 1964 Reproduced in: Genova, 1966; Firenze, 1984; Roma, 1990 John Ashbery, Michelangelo Pistoletto, in „New York Herald Tribune“ (International Edition), 3 March 1964, re-published in John Ashbery, Reported Sightings: Art Chronicles 1957-1987, pp. 158-159, Alfred Knopf, New York, 1989 Annette Michelson, Paris Letter: Pistoletto, in “Art International”, Lugano, April 1964 Annina Nosei, Pistoletto, in “Collage”, n. 2, Palermo, March 1964 Reproduced in: Firenze, 1984 Ettore Sottsass jr., Pop e non pop, a proposito di Michelangelo Pistoletto, in “Domus”, n. 414, Milano, May 1964 Reproduced: in Firenze, 1984 Tommaso Trini, La realtà circolare di Pistoletto, typewritten, 1964, in T. Trini, Mezzo secolo di arte intera. Scritti 1964-2014, Johan & Levi, Monza 2016 Ettore Sottsass jr., Pistoletto, in the catalogue of the exhibition, Sala Espressioni-Ideal Standard, Milano, February - March 1965 Michael Sonnabend, Pistoletto, in “Konstrevy”, n.
    [Show full text]
  • Jean-Marc Bustamante, 1952 —
    Jean-Marc Bustamante, 1952 — In the late 1970s, after a period of assisting photographer William Klein, Jean-Marc Bustamante changed the perception of photography in French art with his monumental Tableaux, a series of photographs of the Barcelona region that blurred the boundary between painting and photography. Following a four-year collaboration with sculptor Bernard Bazile (1983–87), Bustamante continued extending his practice to media other than photography. His work is the perfect synthesis where past experiences merge, embodying different artistic languages that melt in a new and personal visual language. The works depict mental landscapes with a strong poetic impact. His recent works on Plexiglas explore a new way of painting, going further into his research with light and colour. In 2008, Jean-Marc Bustamante was awarded the medal of the Chevalier de la Légion d’honneur, and in 2003 he represented France in the 50th Venice Biennale. His work was included in Documenta VIII in 1987, Documenta IX in 1992, and Documenta X in 1997. Recent exhibitions include New Paintings, Galerie Bärbel Grässlin, Frankfurt (2014); Jean- Marc Bustamante/Pieter Saenredam, Villa Medici, Rome (2012); Dead Calm, The Fruitmarket Gallery, Edinburgh, travelling to the Henry Moore Institute, Leeds (2011); Jean-Marc Bustamante: Lava II, Palais des Beaux-Arts, Brussels, 2008; and L’horizon chimérique (with Ed Ruscha), Musée d’Art Moderne et Contemporain de Strasbourg, 2007. Jean-Marc Bustamante was born in Toulouse, France in 1952 to a South American father
    [Show full text]