Information Sheet
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Art Heals with Hallucinatory Fevers Arianna Di Genova 7 July 2020
Il Manifesto Art heals with hallucinatory fevers Arianna Di Genova 7 July 2020 Art heals with hallucinatory fevers Interview. The South African artist Kendell Geers, guest at the "Inhuman" exhibition in the Barletta Castle, speaks. ‘Capitalism only works if we hate everything about ourselves, from our hair to the colour of our skin, our age, body, height, weight and smell. We spend fortunes in an attempt to erase what defines us.’ Image: Kendell Geers, ‘Pro Aris et Focis’, 2008 Extreme situations, unspeakable tortures, a claustrophobic imaginary studded with abuses and degradation, a theatre of violence that crucifies in the name of religion or ethnic conflicts. The path of the ‘Inhuman’ exhibition (curated by Giusy Caroppo, open until 18 October), which starts in the basement of the Barletta Castle to reverberate in the restless history of our present, does not invite pure contemplation. Moreover, one cannot think of a "comfortable" foray when three artists such as Andres Serrano, Oleg Kulik and Kendell Geers are exhibiting. The body, often vilified, violated, is the great protagonist, a disturbing presence. "I work with materials that interact with the physicality of the viewer as well as the content of the work incites their imagination. An object / subject that lives in space necessarily renegotiates it, making the viewer aware of his own body. Nothing is more obvious.” "Inhuman" (title of the exhibition) is a word that has a profound consonance with his works. And it boasts many holds even with what is emerging in our present, between viruses conveyed by leaps of species and anti- racist movements that inflame the whole world to respond, in fact, to "inhuman" treatments .. -
Monica Bonvicini Unrequited Love
GALLERIA RAFFAELLA CORTESE PRESS RELEASE Monica Bonvicini Unrequited Love Opening reception September 19, 7pm – 9pm September 20 – November 23, 2019 | Tuesday – Saturday, 10am – 1pm / 3pm – 7:30pm and by appointment Galleria Raffaella Cortese is pleased to present Unrequited Love, the second show by Monica Bonvicini, which develops across the gallery’s exhibition spaces in via Stradella as if it were three solo exhibitions. For years, the artist has been carrying out photographic documentation of family houses in Lombardy that were designed and built towards the end of the 1960s for the ‘traditional’ family of the time. The current appearance of these buildings, once rigorously identical in all their parts, reflects the economic and demographic changes of their communities in the past fifty years, resulting in discordant and incompatible aesthetics that create unusual and curious juxtapositions. Three of the houses that make up the photographic series Italian Homes (2019) cover the walls of the space in Via Stradella 1; the series will be shown in its entirety on the occasion of the artist’s solo exhibition at OGR – Officine Grandi Riparazioni in Turin this fall. Placed on top of this wallpaper, three large scale works on paper from 2002, Places of ID (Three People at the...), Pin Up Girl, and Vitruvius, offer intriguing relationships between architecture, history, and sexuality. From the wall to the right, a cast bronze hand emerges at an unusual height; Grab Them by the Balls #2 (2019) suggests a clear answer, not without humor, to the patriarchal power that diminishes female reality. The underground space at number 7, left completely dark, is illuminated by the suspended sculpture Bent on Going (2019), an array of LED light tubes connected by an intricate weave of electric cables. -
Exhibition Review
exhibition review Kendell Geers, 1988–2012 Haus der Kunst, Munich February 1–May 12, 2013 reviewed by Nico Anklam and Christian Ganzenberg In 2013, Munich’s Haus der Kunst offered the South African artist Kendell Geers his first comprehensive solo presentation in Germany. Curated by his compatriot Clive Kellner, the exhibition included works from Geers’s very early days up to the more recent period since 1 Installation shot of “Kendell Geers 1988– 2 Kendell Geers the year 2000, when he moved permanently 2012” at Haus der Kunst, Munich, showing (from PostPunkPaganPop (2008) to Brussels. It is not far fetched to say Geers’s top left) After Liberty 2 (1989), After Liberty 3 Installation detail (mirrors, razor mesh); dimen- oeuvre, encompassing a variety of techniques (1989), Title Withheld (June Seventy Six) (1988), sions variable and media, was groundbreaking for concep- and Title Withheld (Kendell Geers) (1968–); cour- Courtesy the artist; Galleria Continua, San tual art in South Africa. tesy the artist. Gimignano / Beijing / Le Moulin; Goodman Gallery, Johannesburg; Stephen Friedman Gal- The exhibition in Munich expanded from all photos shot at Haus der Kunst, Munich, lery, London the staircase to three spacious rooms in the by Maximilian Geuter first-level galleries. As an introduction, Kell- ner and Geers decided to present a selection of originary objects from the artist’s oeuvre: quasi-devotional items, archival photographs, and as well as personal documents. Presented in three large showcases, these objects pro- vided the visitor with a framework to situate Geers’s aesthetics, his formal and conceptual approach. Kellner and Geers launched the show in a quasi-historicizing way by showing memorabilia of performances or specimens and footage from Geers’s life. -
Kendell Geers Afropunk 07.09 > 28.10.2017
[email protected] — WWW.RODOLPHEJANSSEN.COM Kendell Geers AfroPunk 07.09 > 28.10.2017 “The question of identity is a key into the work of Kendell Geers. Family, social, religious, artistic and historical factors all contribute to my definition of his practice. He has never given up struggling against an inherited identity, continually defining himself in relation to this legacy.” Christine Macel “Nothing could be more logical: Geers is a realist in precisely the sense intended by Courbet, which is to say, an artist who means to represent material forces at work, through systematically stripping away the layers of the ideal (or of ideology) that obliterate our comprehension of the real.” Nicolas Bourriaud “The work of Kendell Geers offers up two possibilities; one a visceral setting which gives the viewer a kind of adrenaline rush of excitement; an aesthetic experience that places one at a site of recognition, yet giving off the aura of impenetrability. The other possibility is one of extreme coldness, a mnemonic disruption that borders on repulsion. In fact Geers would have it no other way.… Geers’ work aptly rediscovers and redefines that moment of transference, there where what is most valuable to our subjective individual agency and sense of history is peren- nially contested, negotiated and debased.” Okwui Enwezor In 1907, Picasso entered the Trocadero in Paris and found himself taken by the power of African Art. He spoke of the experience as a “revelation” no less. “When I went to the Trocadéro it was disgusting. The flea market. The smell. I was all alone. I wanted to get away. -
Kendell Geers
Kendell Geers Born: Johannesburg, South Africa, 1968 Lives and works in Brussels, Belgium Solo Exhibitions (selected) 2019-2020 In Gozi We Trust, Goodman Gallery, Johannesburg, South Africa 2019 The Second Coming (Do What Thou Wilt), Rua Red, Dublin, Ireland #iPROtesttHEReforeIam, ADN Galeria, Barcelona, Spain 2018 Voetstoots, Galerie Ron Mandos, Amsterdam, Netherlands 2017 AfroPunk, Rodolphe Janssen and Galerie Didier Claes (diptych exhibition), Brussels, Belgium 2016 ProPaganDaDa, ADN Galeria, Barcelona, Spain 2015 Kendell Geers: SeaSonSinHell, ACB Gallery, Budapest, Hungary 2014 Solve et Coagula, Yvon Lambert, Paris, France Crossing the Line, Stephen Friedman Gallery, London, England Ani/Mystik/AKtivist, Goodman Gallery, Cape Town The Intoxication of Being Kendell Geers, UnTubo, Siena, Italy 2013 Endgame, Galleria Continua / Le Moulin, Boissy-le-Châtel, France AlphaBête, Galerie Rodolphe Janssen, Brussels, Belgium Stealing Fire From Heaven, Galerist, Istanbul, Turkey Kendell Geers 1988-2012, Haus der Kunst, Munich, Germany 2012 Songs of Innocence and of Experience, Goodman Gallery, Johannesburg, South Africa The Marriage of Heaven and Hell, Chateau Blandy-les-Tours, Melun, Paris, France 2011 Hellraiser, ADN Galeria, Barcelona, Spain Fin de Partie, Galleria Continua, Beijing, China No Government, No Cry, CIAP, Hasselt, Belgium 2010 Handgrenades from my heart, Galerie Rodolphe Janssen, Brussels, Belgium Idoles, Boissy-le Chatel, Paris, France Third World Disorder, Goodman Gallery, Cape Town, South Africa 2009-2010 GUEST + A HOST = A -
I WANT to SEE HOW YOU SEE JULIA STOSCHEK COLLECTION April 16 – July 25, 2010 (Deichtorhallen Hamburg)
I WANT TO SEE HOW YOU SEE JULIA STOSCHEK COLLECTION April 16 – July 25, 2010 (Deichtorhallen Hamburg) The exhibition at the Hamburg’ Deichtorhallen will be the first extensive presentation of the JULIA STOSCHEK COLLECTION shown in the context of a museum worldwide. The exhibition, which will commence April 16, 2010, will feature 65 works by 54 artists from this very young private collection in a space extending of over 3,000 square meters. The main focus of the presentation will be on film and video works produced in the last 40 years, a time range which applies to the entire Julia Stoschek Collection. Classics of video art, such as Marina Abramović’s Art must be beautiful/ Artist must be beautiful dating from 1975-76, Vito Acconci’s Openings (1970) and Chris Burden’s Shoot (1971 are conjoined with more recent works of younger artists, giving viewers the opportunity to relate to the history of the still rather young genre of video art. The majority of the works were actually produced after 2000. They range from lyrical pieces such as Heike Baranowsky’s Mondfahrt and complex animation films such as Björk’s Wanderlust in 3D up to elaborate spatial installations by artists such as Monica Bonvicini, Anthony McCall, and Nathalie Djurberg. The video works are accompanied by sculptures (e.g., by Nandipha Mntambo), photographic works (e.g., by Thomas Demand, Taryn Simon, Thomas Ruff) and installations (e.g., by Jeppe Hein). The title of the exhibition I Want To See How You See was derived from the work in the show by Pipilotti Rist (2003) of the same name. -
Schweizer Grand Prix Kunst Grand Prix Suisse D'art Gran Premio
Schweizer Grand Prix Kunst Prix Meret Oppenheim 2018 Grand Prix suisse d’art Gran Premio svizzero d’arte Grond premi svizzer d’art 4 Vorwort 5 Avant-propos 6 Prefazione 7 Foreword 8 Einleitung 10 Introduction 12 Introduzione 14 Introduction 16 Samuel Gross en conversation avec Sylvie Fleury 45 Samuel Gross in conversation with Sylvie Fleury 52 Yasmil Raymond in conversation with Thomas Hirschhorn 84 Yasmil Raymond im Gespräch mit Thomas Hirschhorn 94 Stefano Moor in conversazione con Luigi Snozzi 127 Stefano Moor in conversation with Luigi Snozzi 137 Anhang Annexe Appendice Appendix Vorwort Renommee und mit seinem intellektu- Avant-propos entre urbanisme et architecture dans ellen Format eine legendäre Figur der le village de Monte Carasso au Tessin Der Prix Meret Oppenheim wurde Architekturszene. Sein Projekt zwischen Le Prix Meret Oppenheim a été est toujours une fgure de référence, 2001 durch das Bundesamt für Städtebau und Architektur im Dorf créé en 2001 par l’Ofce fédéral de plusieurs décennies après sa mise en Kultur (BAK) in Zusammenarbeit Monte Carasso im Tessin dient auch la culture en collaboration avec la œuvre. La Commission a choisi de lui mit der Eidgenössischen Kunst- Jahrzehnte nach seiner Umsetzung noch Commission fédérale d’art. Il honore remettre le prix Meret Oppenheim pour kommission eingerichtet. Er würdigt als Referenz. Die Kommission zeichnet des artistes, architectes, commis- honorer son infuence sur les jeunes Kulturschafende aus den Bereichen ihn mit dem Prix Meret Oppenheim aus, saires, chercheurs et critiques qui font générations d’architectes. Kunst und Architektur, Kuratorinnen um seinen Einfuss auf die nachfolgen- rayonner la création suisse au-delà de Nous exprimons notre admiration et und Kuratoren sowie Kritikerinnen den Generationen von Architektinnen nos frontières et à travers les années. -
Ingrid Wildi Merino
INGRID WILDI MERINO! [email protected]! [email protected]" [email protected]" http://www.ingridwildimerino.net! http://www.dislocacion.cl! !http://www.arquitecturadelastransferencias.net! ! 1963 Born in Santiago, Chile, lives and works in Geneva, Switzerland! 1968 - 1981 Primary and secondary education in Santiago, Chile! 1981 Emigrates to Switzerland! 1985 - 1987 Studies at Zürcher Hochschule der Künste, ZHdK, Zürich, Switzerland! 1987 - 1995 Works at the Spinnerei collective studio in Wettingen, Aargau, Switzerland! 1990 - 1991 Residence in São Paulo, Brazil! 1994 - 1997 Studies visual arts at the Zürcher Hochschule der Künste, ZHdK, Zürich, Switzerland! 1997 Graduates in 1997, mentor Bernd Hoppner! 1998 - 2000 Post Graduate studies in mixed media at the HEAD, Geneva University of Art and Design, Geneva, !Switzerland(Instructors: Sylvie Defraoui, Ursula Biemann, Dominique Gonzalez-Foerster)! ! ! solo exhibitions! ! 2009! !De Gerardo, Video Installation, Video Tank, Zürich! 2008! !Processing the Invisible, Galerie Traversée, Munich, Germany! 2007! Historias breves, Museo de Arte Contemporáneo, Santiago, Chile! !Historias breves, Galeria Gabriela Mistral, Santiago, Chile! 2006! !Quelquepart ll, (in collaboration with Mauricio Gajardo) Kunsthaus Glarus, Switzerland! 2004! De palabra en palabra, Kunsthaus Aarau, Switzerland! !De palabra en palabra, Centre d’Art Contemporain, Geneva, Switzerland! 2001! !Ouvrir et fermer les yeux, Planet 22, Geneva, Switzerland! 1995! !Ohne Titel, Trudelhaus Gallery, Baden, -
Why Congolese Collector Sindika Dokolo Sees Restitution As a Way to Remake African Identity
11/4/2019 'The Colonial Effect on Us Is Huge': Why Congolese Collector Sindika Dokolo Sees Restitution as a Way to Remake African Identity People (https://news.artnet.com/art-world/people) ‘The Colonial Effect on Us Is Huge’: Why Congolese Collector Sindika Dokolo Sees Restitution as a Way to Remake African Identity The Congolese mega-collector is on a quest to help return illegally looted art to Africa. Kate Brown (https://news.artnet.com/about/kate-brown-671), October 8, 2019 https://news.artnet.com/art-world/sindika-dokolo-restitution-africa-1660801?utm_content=from_artnetnews&utm_source=Sailthru&utm_medium=email&utm_cam… 1/12 11/4/2019 'The Colonial Effect on Us Is Huge': Why Congolese Collector Sindika Dokolo Sees Restitution as a Way to Remake African Identity Sindika Dokolo. The question of whether Western museums should return works of African art to their home countries is vexed and hotly debated. But the mega-collector Sindika Dokolo thinks there’s a simple question that should be driving restitution determinations today: Was the object obtained legally? The 47-year-old Congolese business magnate has used this query as the basis for a worldwide campaign to compel Western museums, art dealers, and auction houses to return Africa’s art in cases where it was not legally acquired. Five years on, he and his international team of art sleuths have tracked down and overseen the return of 15 significant works of art. Dokolo is himself an established collector of African art. He began collecting at the age of 15 and, as part of his Sindika Dokolo Foundation, has since amassed upwards of 3,000 works, including those by some of the continent’s most important names: Zanele Muholi, Yinka Shonibare, and William Kentridge. -
Kendell Geers
Kendell Geers Employing a wide range of references — from the realms of history of art, pornography, iconography and kitsch — Kendell Geers questions artistic value and mocks the notion of originality. His work reveals razor-sharp humour that plays with the viewer’s repulsion and ridicules racial or religious stereotypes. Kendell Geers was born in South Africa and now lives and works in Brussels. At the 1993 Venice Biennale he officially changed his date of birth to May 1968, a momentous year in world history for human liberation and equality. Geers creates work that aims to disrupt commonly accepted moral codes and principles. Laden with complex and deep political implications, it is challenging and confrontational. At the same time, Geers’ minimalist aesthetics generate a subtle poetic undertone. His use of language, ready-mades, neon, glass, icons, film, chevron tape and other objects confront the viewer head on. They often startle the eye and require a degree of interrogation from the spectator. Geers’ work is currently included in the 2021 Bruges Triennial and Kortrijk Triennial 2021 in Belgium. ‘Love, By Any Means Necessary’, the sixth solo exhibition for the artist at Stephen Friedman Gallery, opened in February 2020. Geers curated ‘IncarNations: African Art as Philosophy’ in 2019 with Congolese collector Sindika Dokolo at Palais des Beaux-Arts (BOZAR), Brussels. A major retrospective of his work curated by Okwui Enwezor was held at Haus der Kunst, Munich in 2013. He participated in Documenta 14 in 2017 and Documenta 11 in 2002 in Kassel, Germany. Geers’ work was included in the Venice Biennale in 2019, 2007 and 1993. -
Galerie Peter Kilchmann MONICA BONVICINI No Rest April 24
Zahnradstrasse 21 CH-8005 Zürich [email protected] Galerie Peter Kilchmann +41 44 278 10 10 Rämistrasse 33 CH-8001 Zürich www.peterkilchmann.com MONICA BONVICINI No Rest April 24 – June 13, 2021 Galerie Peter Kilchmann is pleased to announce the solo show No Rest by Monica Bonvicini at our Rämistrasse dependance. The exhibition will present new and existing works in a wide range of media, including sculpture, photography, works on paper and installations. Reacting to the intimate apartment character of the new gallery space, the show plays with elements of design. Within it, recurring motifs and details from the artist's work raise complex issues of power and equality, allowing poetry and gender to merge with domestic objects, and thus penetrate the private space. The size of the new gallery in a town house of the 19th century is similar to a home, and when entering such a domestic environment there is a touch of dwelling in the air. Where function has informed space, traces have been left behind – adding a shy sense of private habitat, weaving with a pre-existent narrative into the very floorplan of the house. We read the rooms while we walk, with glossy mirror panels reflecting phrases and quilted carpets contrasting the intimacy of worn clothes with a stylised conception of private space. In one room, lounge chairs wear leather aprons, seemingly waiting to serve. Coffee tables are buckled up with prints of leather belts. But it is not a sentimental home. The exhibition hands to you a subversive instruction manual and it is up to you to figure out if a revolution might be in your grasp. -
MONICA BONVICINI Born
MONICA BONVICINI Born: 1965 in Venice, Italy Lives and works in Berlin, Germany EDUCATION 1986-93 Hochschule der Kunste, Berlin, Germany 1991-92 California Institute of the Arts, Valencia, CA SELECTED SOLO EXHIBITIONS 2020 LOVER’S MATERIAL, Kunsthalle Bielefeld, Bielefeld, Germany Monica Bonvicini, Galerie Krinzinger, Wien, Österreich 2019 As Walls Keep Shifting, OGR Torino, Torino, Italy Unrequited love, Galleria Raffaella Cortese, Milan, Italy I CANNOT HIDE MY ANGER, Österreichische Galerie Belvedere, Vienna, Austria 2017 3612,54 m3 vs 0,05 m,3 Berlinische Galerie, Berlin, Germany Monica Bonvicini, Gerhardsen Gerner, Oslo, Norway Galleria Raffaella Cortese, Milan, Italy RE pleasure RUN, Mitchell-Innes & Nash, New York, NY 2016-17 her hand around the room, Baltic Centre for Contemporary Art, Gateshead, UK 2015 Forget All Instructions, Peter Kilchmann, Zurich, Switzerland 2014 Monica Bonvicini, Peter Kilchmann, Zurich, Switzerland 2013 Disegni, KÖNIG GALERIE, Berlin, Germany Announcements, Kurt-Kurt Kunst und Kontext im Stadtlabor Moabit, Berlin, Germany Then to see the days again and night never be too high, Galleria Massimo Minini, Brescia, Italy 2012 Desire Desiese Devise, Stadtisches Museum Abteiberg, Mönchengladbach, Germany;* Deichtorhallen Sammlung Falckenberg, Hamburg, Germany* Off the Grid, Rat Hole Gallery, Tokyo 2011 A BLACK HOLE OF NEEDS, HOPES AND AMBITIONS, Centro de Arte Contemporaneo de Malaga, Spain* 2010 BOTH ENDS, Kunsthalle Fridericianum, Kassel, Germany* Bet Your Sweet Life, Galerie Max Hetzler, Berlin, Germany 2009