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John M Armleder
GALERIE ANDREA CARATSCH JOHN M ARMLEDER BIOGRAPHY SELECTED GROUP EXHIBITIONS * catalogue or publication 2015 Collections Genevoises, Musée Rath, Genève, Switzerland HANDS ON FABRICS AP / Galerie van Gelder, Amsterdam, the Netherlands HISTOIRES DE PEINTRES Galerie Catherine Issert, Saint Paul de Vence, France ELEMENTARE MALEREI Kunstmuseum St. Gallen, Sankt Gallen, Switzerland JOHN ARMLEDER, JOHN TREMBLAY, STÉPHANE KROPF AND GUESTS BLAIR THURMAN AND MAI- THU PERRET David Kordansky Gallery, Los Angeles, USA ACCROCHAGE Musée d’Art Moderne et Contemporain, Strasbourg, France PRINTMAKING BY ECAL Musée Jenish, Vevey, Switzerland FLOWERS FOR PAUL Galleri Bo Bjergaard, Copenhagen, Denmark* ANGELIC SISTERS 186f KEPLER, Chiesa di San Paolo Converso / CLS Architetti, Milano* Galerie Mitterand + Cramer, Genève, Switzerland IDÉES MULTIPLES Galerie des Galeries, Paris, France MÔTIERS 2015 - ART EN PLEIN AIR Môtiers, Switzerland* 5 JAHRE SCHAUWERK Sindelfingen, Germany ART IMPRIMÉ, TRIENNALE 2015 Musée des Beaux-Arts, Le Locle, Switzerland* ICI ET MAINTENANT. KUNST HEUTE, DIE SAMMLUNG GEGENWARTKUNST Kunstmuseum, Bern, Switzerland* 2014 FOOD: PRODUIRE, MANGER, CONSOMMER Musée des civilisations de l’Europe et de la Méditerranée, Marseilles, France AUS DER TIEFE RUFE ICH ZU DIR: GOTTESERFAHRUNG & TEUFELSKÜCHE Haus für Kunst Uri, Danioth Pavillon, Altdorf, Switzerland VIA SERLAS 12 CH-7500 ST.MORITZ TEL +41 81 734 0000 FAX +41 81 734 0001 [email protected] GALERIE ANDREA CARATSCH DIE ANDERE SEITE: SPIEGEL UND SPIEGELUNGEN IN DER ZEITGENÖSSISCHEN -
Gender Performance in Photography
PHOTOGRAPHY (A CI (A CI GENDER PERFORMANCE IN PHOTOGRAPHY (A a C/VFV4& (A a )^/VM)6e GENDER PERFORMANCE IN PHOTOGRAPHY JENNIFER BLESSING JUDITH HALBERSTAM LYLE ASHTON HARRIS NANCY SPECTOR CAROLE-ANNE TYLER SARAH WILSON GUGGENHEIM MUSEUM Rrose is a Rrose is a Rrose: front cover: Gender Performance in Photography Claude Cahun Organized by Jennifer Blessing Self- Portrait, ca. 1928 Gelatin-silver print, Solomon R. Guggenheim Museum, New York 11 'X. x 9>s inches (30 x 23.8 cm) January 17—April 27, 1997 Musee des Beaux Arts de Nantes This exhibition is supported in part by back cover: the National Endowment tor the Arts Nan Goldin Jimmy Paulettc and Tabboo! in the bathroom, NYC, 1991 €)1997 The Solomon R. Guggenheim Foundation, Cibachrome print, New York. All rights reserved. 30 x 40 inches (76.2 x 101.6 cm) Courtesy of the artist and ISBN 0-8109-6901-7 (hardcover) Matthew Marks Gallery, New York ISBN 0-89207-185-0 (softcover) Guggenheim Museum Publications 1071 Fifth Avenue New York, New York 10128 Hardcover edition distributed by Harry N. Abrams, Inc. 100 Fifth Avenue New York, New York 10011 Designed by Bethany Johns Design, New York Printed in Italy by Sfera Contents JENNIFER BLESSING xyVwMie is a c/\rose is a z/vxose Gender Performance in Photography JENNIFER BLESSING CAROLE-ANNE TYLER 134 id'emt nut files - KyMxUcuo&wuieS SARAH WILSON 156 c/erfoymuiq me c/jodt/ im me J970s NANCY SPECTOR 176 ^ne S$r/ of ~&e#idew Bathrooms, Butches, and the Aesthetics of Female Masculinity JUDITH HALBERSTAM 190 f//a« waclna LYLE ASHTON HARRIS 204 Stfrtists ' iyjtoqra/inies TRACEY BASHKOFF, SUSAN CROSS, VIVIEN GREENE, AND J. -
John M Armleder Ca.Ca. June 7 – September 1, 2019
JOHN M ARMLEDER CA.CA. JUNE 7 – SEPTEMBER 1, 2019 WALL PANEL OF THE EXHIBITION John M Armleder is one of the most influential artists in Europe, and his unusual works are rooted in the formal repertoire of modern art – Constructivism, Op Art, gestural abstract painting as well as video art and design. The artist couples all of his art-historical references with humor and offers ironic commentaries on contemporary reality and the status of art. Armleder blends high culture and aspects of everyday life, coincidence and planning, the profound and the banal to develop a uniquely ambivalent experience. John Armleder has created two new installations for presentation under the shared title CA.CA. in the rotunda and the large hall of the Schirn. As a matter of principle, the artist responds actively to every new location and works with the specific conditions that prevail in each setting. In doing so, Armleder often uses elements from earlier installations and mixes a wide variety of different materials. BIOGRAPHY 1948 John Michael Armleder is born in Geneva on June 24, 1948 as of 1963 Musical and other activities with the Groupe Luc Bois and the Groupe Max Bolli, Geneva 1966/67 Studies at the Ecole des beaux-arts in Geneva (one semester in the painting department and one semester in various studios) 1969 Participation in the mixed media course The Black Box with John Epstein at the Glamorgan Summer School, Wales Foundation of the Groupe Ecart with Patrick Lucchini and Claude Rychner. “Ecart” is French for “deviation”—it refers here to the group’s rejection of the concrete and definable. -
AD Presentation for Exhibitors.Pdf
16. 18. 18 IMPRESSIONEN 2017 IMPORTANT REGISTRATION INFORMATION / THE APPLICATION DEADLINE FOR ART DÜSSELDORF IS MAY 8, 2018. / REGISTRATIONS FOR ART DÜSSELDORF CAN BE SUBMITTED ONLINE ONLY. / THE REGISTRATION FEE CAN BE PAID BY CREDIT CARD ONLY. / PLEASE REGISTER ONLINE AT: WWW.ART-DUS.DE KEY PARAMETER / NOV 16 – 18, 2018 / PREVIEW: NOV 15, 2018 / AROUND 100 ESTABLISHED AND YOUNG REGIONAL AND INTERNATIONAL GALLERIES / AROUND 40,000 VISITORS / MODERN AND CONTEMPORARY ART (1945-2018) / LOCATION: AREAL BÖHLER - 2 HALLS - 12,000 SQM GROSS EXHIBITION SPACE IMPRESSIONEN 2017 PRESS COMMENTS ON THE PREMIERE 2017 „THIS YEAR, FOR THE FIRST YEAR, DÜSSELDORF HOSTED ITS OWN ART FAIR. THE OPENING WAS A GLITZY EVENT– AN ENORMOUS HANGAR SWARMING WITH WEALTHY COLLECTORS IN EXPENSIVE CLOTHES.“ (BBC) „ART DÜSSELDORF WINS OVER THE RHINELAND´S COLLECTORS.“ (THE ART NEWSPAPER) „ART DÜSSELDORF DARES TO LAUNCH A NEW ART FAIR IN THE RHINELAND - THE PREMIERE WITH 80 GALLERIES IS A SUCCESS.“ (TAGESSPIEGEL) „ART DÜSSELDORF FULFILLED ALL THE REQUIREMENTS FOR VISITORS TO BECOME CUSTOMERS – NO MATTER WHETHER REGIONAL OR NOT.“ (WELT - N24) „THE NEW ART FAIR IN THE FORMER INDUSTRIAL COMPLEX AREAL BÖHLER KICKS OFF WITH AN ENTHRALLING SHOW, WHICH RECEIVES THE HIGHEST OF PRAISE.“ (WESTDEUTSCHE ZEITUNG) „A DIGESTIBLE, PLEASANT AND HIGH-QUALITY EXHIBITION WITH WIDE CORRIDORS AND LARGE STANDS THAT MAKE A VISIT A RELAXING EXPERIENCE.“ (H.ART MAGAZINE) IMPRESSIONEN 2017 MEMBERS OF THE SELECTION COMMITTEE VERONIQUE ANSORGE, DAVID ZWIRNER (NEW YORK, LONDON) CRISTINA GUERRA, CRISTINA -
Documenta 5 Working Checklist
HARALD SZEEMANN: DOCUMENTA 5 Traveling Exhibition Checklist Please note: This is a working checklist. Dates, titles, media, and dimensions may change. Artwork ICI No. 1 Art & Language Alternate Map for Documenta (Based on Citation A) / Documenta Memorandum (Indexing), 1972 Two-sided poster produced by Art & Language in conjunction with Documenta 5; offset-printed; black-and- white 28.5 x 20 in. (72.5 x 60 cm) Poster credited to Terry Atkinson, David Bainbridge, Ian Burn, Michael Baldwin, Charles Harrison, Harold Hurrrell, Joseph Kosuth, and Mel Ramsden. ICI No. 2 Joseph Beuys aus / from Saltoarte (aka: How the Dictatorship of the Parties Can Overcome), 1975 1 bag and 3 printed elements; The bag was first issued in used by Beuys in several actions and distributed by Beuys at Documenta 5. The bag was reprinted in Spanish by CAYC, Buenos Aires, in a smaller format and distrbuted illegally. Orginally published by Galerie art intermedai, Köln, in 1971, this copy is from the French edition published by POUR. Contains one double sheet with photos from the action "Coyote," "one sheet with photos from the action "Titus / Iphigenia," and one sheet reprinting "Piece 17." 16 ! x 11 " in. (41.5 x 29 cm) ICI No. 3 Edward Ruscha Documenta 5, 1972 Poster 33 x 23 " in. (84.3 x 60 cm) ICI /Documenta 5 Checklist page 1 of 13 ICI No. 4 Lawrence Weiner A Primer, 1972 Artists' book, letterpress, black-and-white 5 # x 4 in. (14.6 x 10.5 cm) Documenta Catalogue & Guide ICI No. 5 Harald Szeemann, Arnold Bode, Karlheinz Braun, Bazon Brock, Peter Iden, Alexander Kluge, Edward Ruscha Documenta 5, 1972 Exhibition catalogue, offset-printed, black-and-white & color, featuring a screenprinted cover designed by Edward Ruscha. -
Joseph Beuys 1 Joseph Beuys
Joseph Beuys 1 Joseph Beuys Joseph Beuys Offset poster for Beuys' 1974 US lecture-series "Energy Plan for the Western Man", organised by Ronald Feldman Gallery - Courtesy Ronald Feldman Fine Arts, New York Born May 12, 1921Krefeld, Germany Died January 23, 1986 (aged 64)Düsseldorf Nationality German Field Performances, sculpture, visual art, aesthetics, social philosophy Training Kunstakademie Düsseldorf Joseph Beuys (German pronunciation: [ˈjoːzɛf ˈbɔʏs]; May 12, 1921, Krefeld – January 23, 1986, Düsseldorf) was a German performance artist, sculptor, installation artist, graphic artist, art theorist and pedagogue of art. His extensive work is grounded in concepts of humanism, social philosophy and anthroposophy; it culminates in his "extended definition of art" and the idea of social sculpture as a gesamtkunstwerk, for which he claimed a creative, participatory role in shaping society and politics. His career was characterized by passionate, even acrimonious public debate, but he is now regarded as one of the most influential artists of the 20th century.[1] [2] Biography Childhood and early life in the Third Reich (1921-1941) Joseph Beuys was the son of the merchant Josef Jakob Beuys (1888–1958) and Johanna Maria Margarete Beuys (born Hülsermann, 1889–1974). The parents had moved from Geldern to Krefeld in 1910, and Beuys was born there on May 12, 1921. In autumn of that year the family moved to Kleve, an industrial town in the Lower Rhine region of Germany, close to the Dutch border. There, Joseph attended primary school (Katholische Volksschule) and secondary/high- school (Staatliches Gymnasium Cleve, now the Freiherr-vom-Stein-Gymnasium). His teachers considered him to have a talent for drawing; he also took piano- and cello lessons. -
Soundtrack for an Exhibition 8 Mar - 11 Jun 06, Musée Art Contemporain Lyon, FR
Media Release: for immediate use Soundtrack for an Exhibition 8 Mar - 11 Jun 06, Musée Art Contemporain Lyon, FR SOUNDTRACK composed by Susan Stenger with contributions by Robert Poss, Alan Vega, Alexander Hacke, F.M. Einheit, Will Oldham, Kim Gordon, Mika Vainio, Bruce Gilbert, Ulrich Krieger, Warren Ellis, Jim White, Jennifer Hoyston, Andria Degens, Spider Stacy PAINTINGS by John Armleder, Steven Parrino [until 14 May 06] FEATURE FILM by Kristian Levring [until 14 May 06] An exhibition conceived by Mathieu Copeland Co-produced by forma and Musée Art Contemporain Lyon Musée Art Contemporain Lyon presents a major new time-based project that confounds traditional expectations of an exhibition. Soundtrack for an Exhibition comprises three main elements: a specially commissioned sound score, an exhibition of paintings and a feature film. The soundtrack is broadcast both inside and outside of the museum for 96 days, whilst the paintings and feature film are presented in the gallery space for 69 days. The sound piece, composed by Susan Stenger and featuring contributions from a stellar list of international musicians, employs an archetypal pop song structure ‘exploded’ in form to last 96 days. During this period a feature film [The King Is Alive, by Danish filmmaker and Dogme95 signatory Kristian Levring], screened not in its final, edited version, but as the entire footage shot in its making - will be shown in the gallery. Presented alongside in the gallery space will be an exhibition of paintings, including the late American painter Steven Parrino’s Slow Rot works and large scale commissioned Puddle Paintings and Pour Paintings realised in situ by Swiss artist John Armleder – all unstable paintings that both evolve and decay over time. -
'I Always Agree with Whatever People Say About My Work': Why John
Rea, Naomi, “‘I Always Agree With Whatever People Say About My Work’: Why John Armleder Isn’t Stressed About All the Shows He’s Opening This Summer,” Artnet.com, July 11, 2019 ‘I Always Agree With Whatever People Say About My Work’: Why John Armleder Isn’t Stressed About All the Shows He’s Opening This Summer The artist is the subject of major retrospectives in Geneva and Aspen, as well as other shows around the globe. By Naomi Rea | July 11, 2019 John Armleder, Brioni Fall Winter 2015 Campaign Photo by Collier Schorr. Courtesy of David Kordansky Gallery, Los Angeles. John Armleder is having a busy summer. Both the Modern and Contemporary Art Museum in Geneva and the Aspen Art Museum are offering up retrospective looks back on the Swiss artist’s storied career. Meanwhile, despite mounting health concerns, the 71-year-old Armeleder is still making new work, some of which is being shown at David Kordansky Gallery, Los Angeles, and at the Schirn Kunsthalle in Frankfurt. Together, these exhibitions constitute the largest ever reassessment of Armleder’s oeuvre. Long before Armleder became a founder of the influential Groupe Ecart, which introduced Andy Warhol to Europe, he spent seven months in prison as a conscientious objector refusing to take part in Switzerland’s mandatory military service. Then, after studying at the Swiss École des Beaux-Arts, he joined an enthusiastic group of young artists and played a pioneering role in the development of the Fluxus movement of the late 1960s. The Swiss artist repre sented his country at the Venice Bien nale in 1986, and the following year he partic i pated in docu menta 8 in Kassel. -
Press Release Wirtschaftswerte / Museumswerte
Grabbeplatz 4 40213 Düsseldorf Tel. +49 (0)211 8996 256 Fax +49 (0)211 8929 576 [email protected] www.kunsthalle-duesseldorf.de Wirtschaftswerte / Museumswerte 8. April – 18. June 2017, Opening 7. April 2017, 21:00 An exhibition on the fiftieth anniversary of the Kunsthalle Düsseldorf on Grabbeplatz With Giovanni Anselmo, Art & Language, Bernd & Hilla Becher, Joseph Beuys, Marcel Broodthaers, Daniel Buren, Christo, Tony Cragg, Hanne Darboven, Braco Dimitrijević, Jim Dine, Hans-Peter Feldmann, Barry Flanagan, Lucio Fontana, Jef Geys, Gilbert & George, Hans Haacke, On Kawara (temporarily), Yves Klein, Imi Knoebel, Jannis Kounellis, Bernd Lohaus, Richard Long, Nam June Paik, Blinky Palermo, Panamarenko, Gerhard Richter, Dieter Roth, Andy Warhol and an intervention by Richard Venlet Since its founding in 1881, the Kunsthalle Düsseldorf along with the Kunstverein für die Rheinlande und Westfalen have been devoted to current artistic production. Contemporary modern art was the focus even at the original museum in its Classicist building. In addition to renowned artists such as Cézanne, van Gogh, Monet, Renoir, Rodin, Kirchner, Schmidt-Rottluff, Pechstein, Nolde, Kandinsky, and Matisse, the legendary Sonderbund exhibitions also took place at the museum in 1909 and 1911. In 1967 the building, which had been severely damaged in the war, was torn down and rebuilt as a brutalist concrete cube slightly set back on Grabbeplatz by the architects Konrad Beckmann and Christoph Brockes. On 30 April 2017, the Kunsthalle Düsseldorf will celebrate its fiftieth anniversary in the building. From the beginning, the museum was conceived as an institution for very different and idiosyncratic exhibition formats, which have focused on an “expanded concept of art” and interdisciplinary approaches under the aegis of Karl Ruhrberg, Jürgen Harten, Marie-Luise Syring, Ulrike Groos, and myself. -
Studio Berlin
Studio Berlin In cooperation with Neuer Berliner Kunstverein (n.b.k.) © Institute for Strategy Development (IFSE) June 2010 Contents Preface........................................................................................... 2 Contemporary. Art. Market........................................................... 3 Metropolis Berlin ........................................................................... 5 Urban Space .........................................................................................5 100 years and six political systems ............................................................6 The „New Berlin“.......................................................................................8 A Place for Artists (of Life)........................................................... 10 Educational Institutions............................................................................12 Production and Direct marketing ............................................................14 "The City named Desire" ........................................................................15 The Art Market in Berlin .............................................................. 16 Galleries .......................................................................................16 Fairs .......................................................................................22 Auction Houses .......................................................................................24 Institutions of Contemporary Art............................................... -
Documenta 5 : 30
documenta 5 : 30. Juni bis 8. Oktober 1972 June 30 - October 8, 2007 CHECKLIST Artwork Art & Language. Alternate Map for Documenta (Based on Citation A) / Documenta Memorandum (Indexing). offset-printed ; 28.5 x 20 in. ; black-and-white ; edition unknown. unsigned and unnumbered ; Köln, Germany : Paul Maenz, 1972. Two-sided poster produced by Art & Language in conjunction with Documenta 5. Poster credited to Terry Atkinson, David Bainbridge, Ian Burn, Michael Baldwin, Charles Harrison, Harold Hurrrell, Joseph Kosuth, and Mel Ramsden. Reference: Charles Harrison, Essays on Art & Language. MIT Press, Cambridge, MA, 2001, pp. 63 - 81. Steven Leiber, "Extra Art." Smart Art Press, Santa Monica, CA, 2001, pp. 60 - 61. Paul Maenz and Germano Celant, Paul Maenz : Köln 1970 - 1975. Paul Maenz, Köln, Germany, pp. 48. Good / Very Good. Yellowing newsprint, folded in eight. [Object # 9812] $450.00 Joseph Beuys. Rose for Direct Democracy. 33.5 x 5 x 5 cm. ; edition 440 signed and numbered copies (plus unlimited unsigned and numbered copies). signed and numbered ; Heidelberg, Germany : Edition Staeck, 1973. A graduated glass measuring cylinder with incised texts and certificate on the letterhead of "Organisation for Direct Democracy through referendum," with rubber-stamping, numbering and signature of Beuys. A similar glass (without the incised text) was in the permanent political office on Beuys' desk during Documenta 5. Reference #71 in Jörg Schellmann and Bernd Klüser, Joseph Beuys : The Multiples. Busch-Reisinger Museum, Harvard University Art Museums, Cambridge ; Walker Art Center, Minneapolis ; Edition Schellmann, Munich & New York, pp. 103, 441. Fine. This copy SIGNED and NUMBERED by Beuys on certificate. [Object # 9824] $3,500.00 Joseph Beuys. -
Affinities #5 John M Armleder / Morgane Tschiember
6, rue Jacques Callot t +33 1 53 10 85 68 [email protected] 75006 Paris f +33 1 53 10 89 72 www.loevenbruck.com AFFINITIES #5 JOHN M ARMLEDER / MORGANE TSCHIEMBER 01.12.2017 – 20.01.2018 "JOHN M ARMLEDER/MORGANE TSCHIEMBER" is part of a series of exhibitions called "AFFINITIES" being held in 2017-2018* at the Loevenbruck gallery, beginning in April 2017. Each exhibition features the work of two contemporary or historical artists. In 2018, Loevenbruck, Paris, will publish a work covering each exhibition. *2017-2018 "AFFINITIES" EXHIBITION PROGRAM #1. MARCEL DUCHAMP/JEAN DUPUY (APRIL 28–MAY 27, 2017) #2. TETSUMI KUDO/KEY HIRAGA (JUNE 2–JULY 29, 2017) #3. PHILIPPE MAYAUX/PIERRE MOLINIER (SEPTEMBER 22–OCTOBER 14, 2017) #4. ALLAN KAPROW/ARNAUD LABELLE-ROJOUX (OCTOBER 20–NOVEMBER 25, 2017) #5. JOHN M ARMLEDER/MORGANE TSCHIEMBER (DECEMBER 1–JANUARY 20, 2018) 6, rue Jacques Callot t +33 1 53 10 85 68 [email protected] 75006 Paris f +33 1 53 10 89 72 www.loevenbruck.com JOHN M ARMLEDER / MORGANE TSCHIEMBER 01.12.2017 – 20.01.2018 "Species" When the bill came after a meeting between Morgane Tschiember and John M Armleder in a tearoom, it was adorned with tiny stars. Those stars have now reappeared in the white cube of the gallery, which has been transformed with glittery pink wallpaper (neither artist is worried about art playing a decorative role). The bubble-gum-pink wallpaper is adorned with a constellation of silver patterns, each one a sort of target – although it’s not easy to hit the bull’s-eye – and a cross resulting from the enlargement, deformation and pixelation of the stars on the bill.