DOCSLIB.ORG

Anthea Hamilton, Hauptraum Anne Speier, Galerie James Richards & Leslie Thornton, Grafisches Kabinett Press Conference: Thursday, September 13, 2018, 10 A.M

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Anthea Hamilton, Hauptraum Anne Speier, Galerie James Richards & Leslie Thornton, Grafisches Kabinett Press Conference: Thursday, September 13, 2018, 10 A.M 2018 PREVIEW EXHIBITION PROGRAMME February 9 – April 22, 2018 Rudolf Polanszky, Hauptraum February 9 – April 1, 2018 Haris Epaminonda, Grafisches Kabinett Press conference: Thursday, February 8, 2018, 10 a.m. Opening: Thursday, February 8, 2018, 7 p.m. April 13 – June 17, 2018 Bouchra Khalili, Galerie April 13 – June 3, 2018 Elaine Reichek, Grafisches Kabinett Press conference: Thursday, April 12, 2018, 11 a.m. Opening: Thursday, April 12, 2018, 7 p.m. June 29 – September 2, 2018 Group exhibition curated by Anthony Huberman Hauptraum, Gallery, Grafisches Kabinett Press conference: Thursday, June 28, 2018, 10 a.m. Opening: Thursday, June 28, 2018, 7 p.m. September 14 – November 4, 2018 Anthea Hamilton, Hauptraum Anne Speier, Galerie James Richards & Leslie Thornton, Grafisches Kabinett Press conference: Thursday, September 13, 2018, 10 a.m. Opening: Thursday, September 13, 2018, 6:30 p.m. November 16, 2018 – January 20, 2019 Ed Ruscha, Hauptraum Philipp Timischl, Galerie Kris Lemsalu, Grafisches Kabinett Press conference: Thursday, November 15, 2018, 10 a.m. Opening: Thursday, November 15, 2018, 7 p.m. Permanent presentation: Gustav Klimt – The Beethoven Frieze (1902) Changes brought about by Renovation Work in 2017/2018 The Secession will remain open to visitors and continue to present exhibitions during the renovations. However, for technical reasons, selected areas will be closed intermittently. June 29 – September 2, 2018 Other Mechanisms Group exhibition curated by Anthony Huberman Press conference: Thursday, June 28, 2018, 10 a.m. Opening: Thursday, June 28, 2018, 7 p.m. Lutz Bacher, Menu, 2002, mixed media Collection of Robin Wright In the summer of 2018, the curator Anthony Huberman will propose a group exhibition that will take up all three of the building’s exhibition areas. Titled Other Mechanisms, Huberman’s exhibition for the Secession considers the way artists work with and within mechanisms. Broadly defined, a mechanism refers to machines, tools, or devices, but also to the more abstract system of standards, protocols, or parameters that structure much of today’s economic and political administration and management. The works in the exhibition reflect on the way machines are not only physical objects but have become infrastructural, a part of the technological present that is more difficult to shut down or turn off. The exhibition examines how art might contest a world that values efficiency and productivity by including works that test existing systems with inefficient machines, impossible tools, wasted time, and elaborate protocols that misalign outputs from their inputs. Building on Mechanisms, presented at the Wattis Institute in San Francisco (October 2017–February 2018), Huberman’s show at the Secession will elaborate on his curatorial research and develop it in new directions. While aspects of both exhibitions will overlap, the display at the Secession will involve a range of new perspectives, additional artists, and a consideration of the local Viennese context. Huberman has been director and chief curator of the Wattis Institute, San Francisco, since 2013. In 2010, he established the Artist’s Institute, in New York, where he developed a model for longer-term seasons dedicated to the work of individual artists. Huberman’s previous appointments included stints at the Contemporary Art Museum St. Louis, the Palais de Tokyo, Paris, SculptureCenter, New York, and MoMA PS1, New York. Anthony Huberman, born in 1975 in Geneva, lives and works in San Francisco. Invited by the board of the Secession Curator: Anthony Huberman Project management: Jeanette Pacher September 14 – November 4, 2018 Anthea Hamilton Press conference: Thursday, September 13, 2018, 10 a.m. Opening: Thursday, September 13, 2018, 6:30 p.m. Anthea Hamilton, Reimagines Kettle’s Yard, 2016, exhibition view The Hepworth Wakefield. Courtesy the artist, Kettle’s Yard and The Hepworth Wakefield, Photo: Stuart Whipps The British artist Anthea Hamilton’s interdisciplinary interest in performance is evident in her three- dimensional arrangements, theatrical ensembles whose tableau-like quality makes them reminiscent of stage sceneries or film sets. Her sculptures, idiosyncratic constructions precariously balanced between emergence and collapse, function like props for stories that remain to be told. The work of the artist, who was nominated for the Turner Prize in 2016, grows out of wide-ranging research, whether she explores strands in cultural history such as the roots of 1970s disco, art-historical references like Art Nouveau, Italian furniture design or ancient Japanese theatre, documentary photography or lichen. Each subject is studied closely and used as a lens through which to understand the world. Asked about her sources of inspiration, Hamilton has frequently mentioned the French writer Antonin Artaud and his idea of a “physical knowledge of images.” It is this bodily response to an idea or an image that she wants us to experience when we encounter her work and its use of unexpected materials, scale and humour; like the off-kilter proportions of the various elements, they attest to the fine sense of humour that sustains her art. Many of her installations incorporate objects that caught her attention because of their tactile qualities or fascinating oddness. Other works grow out of autobiographical references and allusions to Hamilton’s own body; cut-outs of her legs have come to be regarded as a leitmotif in her oeuvre. Anthea Hamilton, born in 1978 in London, lives and works in London. The exhibition program is conceived by the board of the Secession. Curator: Jeanette Pacher Exhibition cooperation: The exhibition of Anthea Hamilton is being produced in cooperation with Phileas – A Fund for Contemporary Art. September 14 – November 4, 2018 Anne Speier Press conference: Thursday, September 13, 2018, 10 a.m. Opening: Thursday, September 13, 2018, 6:30 p.m. Anne Speier, Runner being ahead of her time, 2015, Courtesy the artist and Meyer Kainer Vienna Anne Speier makes art in two dimensions, working in painting, photography, collage, analog printing techniques, and digital image editing, but she also creates installations and sculptures, often revisiting characters from her pictures and transferring them into three-dimensional space. Speier’s representational and figurative visual idiom grows out of experimental interactions between different media such as photography, painting, and various printing techniques. The specific characteristics and material requirements of the techniques she employs leave traces that are no less integral to her compositions than their subjects proper. Blending painting, photography, printing, and cutout techniques, the artist furnishes multilayered stages on which social roles are enacted. The protagonists of Speier’s visual worlds are often female, androgynous, or sexless. Their appearance is mutable, varying between bulkily amorphous figures and comedic illustrations whom she lends individual personalities by endowing them with characteristic facial expressions or unusual gestures. Anne Speier, born in Frankfurt am Main in 1977, studied at Frankfurt’s Städelschule. She currently lives in Vienna, where she teaches in the Object Sculpture Studio at the Academy of Fine Arts, Vienna. The exhibition program is conceived by the board of the Secession. Curator: Bettina Spörr September 14 – November 4, 2018 James Richards & Leslie Thornton Press conference: Thursday, September 13, 2018, 10 a.m. Opening: Thursday, September 13, 2018, 6:30 p.m. James Richards and Leslie Thornton, Crossing, video still, digital video, 19 min. 12 sec., 2016. Courtesy die Künstlerin and Rodeo, London Belonging to two distinct artist generations and contexts, James Richards and Leslie Thornton developed their first collaborative project Crossings in 2016. This video installation materializes an intense phase of exchange between the artists, both enabled and limited by exchanging footage via online sharing platforms. Thornton, a media artist who herself was influenced by Paul Sharits, Yvonne Rainer, and Joan Jonas often deploys projections complicated by ample sound-image interactions. Likewise, musical composition is key to Richard’s practice. Both artists’ work is motivated by their understanding of cinema and video as original languages and forms of thinking. The work’s title evokes the artists’ mode of working together, traversing their practices and sharing their views. Equally, it alludes to CROSSROADS (1976), a short film by Bruce Conner that reworks footage of the U.S. 1946 nuclear tests in the Bikini Atoll. Conner confronts the viewer with slow-motion imagery which is at times out of sync with a soundtrack composed by experimental music pioneers. Similarly, the strictly organized frame of Richard and Thornton’s video allows the artists to juxtapose, modulate, and iterate recurring image fragments and sonic impulses. Assembled from both found material and original footage from their own extensive archives, Crossings moves through multiple stages and eventually morphs into an audiovisual note on artistic production and collaboration. (Text: Christoph Chwatal) Leslie Thornton born in 1951 in Knoxville (Tennessee), lives and works in New York. James Richards (born 1983) is a British artist who lives in Berlin and London. The exhibition program is conceived by the board of the Secession. Curator: Annette Südbeck November 16, 2018 – January 20, 2019 Ed Ruscha Press conference: Thursday, November 15, 2018, 10 a.m. Opening: Thursday, November
Load more

Recommended publications
  • Baltic Triennial 13 – Give up the Ghost
    BALTIC TRIENNIAL 13 – GIVE UP THE GHOST Contemporary Art Centre (CAC), Vilnius 11 May – 12 August, 2018 Private view 11 May, 6pm Artistic Director: Vincent Honoré BT13 – GIVE UP THE GHOST launches its fi rst chapter at Contemporary Art Centre (CAC), Vilnius on Friday, 11 May with an evening of performances followed by a public programme on Saturday, 12 May. BT13 in Vilnius includes works by Caroline Achaintre, Evgeny Antufi ev, Korakrit Arunanondchai, Darja Bajagić, Olga Balema, Nina Beier, Huma Bhabha, Dora Budor, Miriam Cahn, Jayne Cortez, Melvin Edwards, Daiga Grantina, Max Hooper Schneider, Anna Hulačová, Pierre Huyghe, E’wao Kagoshima, Sanya Kantarovsky, Ella Kruglyanskaya, Benoît Maire, Katja Novitskova, Pakui Hardware, Anu Põder, Laure Prouvost, Ieva Rojūtė, Rachel Rose, Augustas Serapinas and Michael E. Smith alongside a public programme of performances by Liv Wynter, Adam Christensen, Anton Lukoszevieze, Ieva Rojūtė and Žygimantas Kudirka celebrating the Triennial. The Baltic Triennial has historically taken place at the CAC Vilnius only. For its 13th edition, it will - for the fi rst time - be organised by and take place in Lithuania, Estonia (opening on June 29th) and Latvia (opening on September 21st), taking the form of three distinct chapters. Baltic Triennial 13 is informed by a shared concern: what does it mean to belong at a time of fractured iden- tities? BT13 – GIVE UP THE GHOST unfolds through and with this very question, careful not to off er a single or illustrative response. Instead, it opts for a collective vision of what is at stake: independence and depen- dency—and everything that lies in between—to territories, cultures, classes, histories, bodies and forms.
    [Show full text]
  • Interior Infinite: Exhibition Guide
    Interior Infnite: Exhibition Guide CONTENTS 3 Lacie Burning 15 Skeena Reece 4 Claude Cahun 16 Yinka Shonibare CBE 5 Charles Campbell 17 Sin Wai Kin 6 Nick Cave 18 Carrie Mae Weems 7 Dana Claxton 19 Zadie Xa 8 Martine Gutierrez 9 Kris Lemsalu 10 Ursula Mayer 11 Meryl McMaster 12 Zanele Muholi 13 Aïda Muluneh 14 Zak Ové Interior Infinite: Exhibition Guide LACIE BURNING seeing in the dark, 2021 Mixed media and video Premiering in Interior Infnite, Lacie Burning’s new work seeing in the dark expands on their previous Refection series, a suite of photographs showing a fgure in a mask of mosaicked mirror shards moving through a winter landscape. The refection of nature in the subject’s face represented a reciprocal relationship to the land. Burning now expands this work, creating a childlike efgy of themself in contemplation of their own position as a queer Indige- nous person, in a world mired in ecological catastrophe. Lacie Burning (b. 1992, Branford, Ontario) is a Kanien’kehá:ka (Mohawk) multi-disciplinary artist and curator raised on Six Nations of the Grand River located in Southern Ontario. Their work focuses on politics of Indigeneity and identity from a Haudenosaunee perspective through photography, performance and sculpture. They hold a BFA from Emily Carr University of Art + Design with a focus on photography and Indigenous art. In 2019, Burning won the Renee Van Halm + Pietro Widmer Graduation Award for Visual Arts, was frst runner-up for the 2020 Philip B. Lind Prize, and was longlisted for the New Generation Photography Award for 2020.
    [Show full text]
  • Press Kit Hassan Sharif Kris Lemsalu Malone & Kyp Malone Lemsalu
    1/23 Press Kit Hassan Sharif Kris Lemsalu Malone & Kyp Malone Lemsalu Jasmina Metwaly & Yazan Khalili Content Press Release winter/spring program 2020 Hassan Sharif I Am The Single Work Artist Exhibition Text Biography Public Program Kris Lemsalu Malone & Kyp Malone Lemsalu Love Song Sing-Along Exhibition Text Biography Public Program Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili Exhibition Text Biography Public Program Education and Art Mediation General Information Partners For image requests and text material, please contact Karoline Köber. As of March 12, 2020 / Subject to change 2/23 Press Contact KW Institute for Contemporary Art Karoline Köber Tel. +49 30 243459 41 [email protected] KW Institute for Contemporary Art KUNST-WERKE BERLIN e. V. Auguststr. 69 10117 Berlin kw-berlin.de facebook.com/kwinstituteforcontemporaryart instagram.com/kwinstitutefcontemporaryart 3/23 Press Release Berlin, January 8, 2020 KW Institute for Contemporary Art presents winter/spring program 2020 KW Institute for Contemporary Art is pleased to announce its program for winter/spring 2020. With artistic positions by Hassan Sharif, Kris Lemsalu Malone & Kyp Malone Lemsalu, Jasmina Metwaly and Yazan Khalili as well as the collaboration with Archivio Conz and Kunsthalle for Music, this season continues examining the “body” as a composition— structurally, politically, emotionally, and musically—to scrutinize our understanding of (dis-) placement. Pause: Broken Sounds / Remote Music—Prepared Pianos from the Archivio Conz Collection January 16–19, 2020 Curators: Gigiotto Del Vecchio, Stefania Palumbo In collaboration with KW, Archivio Conz presents a five-day event with more than 20 prepared pianos by artists such as Ay-O, Dorothy Iannone, Nam June Paik, Ben Patterson, and Carolee Schneemann from Francesco Conz’s (1935–2010) collection to create a poetical environment, a possible architecture in which a number of performances by Nina Kurtela, Charlemagne Palestine, Phillip Sollmann & Konrad Sprenger, Sky Walking, Angharad Williams, and others take place.
    [Show full text]
  • SEÑORA! Curated by Kris Lemsalu and Sarah Lucas Sarah Lucas, Kris
    SEÑORA! Curated by Kris Lemsalu and Sarah Lucas 8.9.–24.10. 2020 Sarah Lucas, Kris Lemsalu , Michèle Pagel, Kate Boxer, Edith Karlson, Patricia Jordan, Bárbara Sánchez-Kane, Angela Bulloch, Johanna Ulfsak, Merilyn Humphreys People ask, Where did she come from? SEÑORA was born in Venice. She’s an idea of WOMAN. An ideal WOMAN. She improves with age, People ask, What is she like? She can take many forms. Individually She has as many faces as she has moods. As many aspects as the weather. SEÑORA is an ancient ride, shifts shapes and gears. Picks up a hitchhiker and turns up the laughter. Collectively she might be a film. She might be a magazine, she might be a concert or a very good club. She might be an exhibition. SEÑORA! is a FORCE! ___________ Sarah Lucas Sarah Lucas began her artistic career in 1988 as part of the rebellious “Young British Artists”. Together with other former students of the renowned Goldsmiths College in London, she highly influenced the London art scene of the 1990s. Known for her color photographs, performances, and sculptures, Lucas frequently employs a critical humor in her work in order to question conventions and highlighting the absurdity of the everyday. * 1962 in London. Lives and works in London. Selected Exhibitions 2019 Sarah Lucas, Red Brick Art Museum, Beijing 2018 Au Naturel, The New Museum, New York 2017 Sarah Lucas: Good Muse, Legion of Honor, Fine Arts Museum of San Francisco 2015 Sarah Lucas represents Britain at the 56th Venice International Art Biennale, Venice ___________ Kris Lemsalu Estonian artist Kris Lemsalu creates complex sculptures, installations, and performances that fuse the animal kingdom with humankind, nature with the artificial, beauty with repulsion, lightness with gravity, life with death.
    [Show full text]
  • CONTEMPORARY ART from ESTONIA 28 June – 26 October 2018
    CONTEMPORARY ART FROM ESTONIA 28 June – 26 October 2018 CONTEMPORARY ART FROM ESTONIA 28 June – 26 October 2018 Foreword Ardo Hansson Introduction Mario Draghi and Benoît Cœuré Thoughts on home Writing from Tallinn to Frankfurt Kati Ilves ContentsContents Foreword Katja Novitskova 38 Ardo Hansson 7 Kaido Ole 40 Kristina Õllek & Kert Viiart 42 Introduction Laura Põld 44 Mario Draghi and Benoît Cœuré 11 Taavi Suisalu 46 Sigrid Viir 48 Thoughts on home Writing from Tallinn to Frankfurt Biographies 51 Kati Ilves 15 Imprint 56 Contemporary art from Estonia Merike Estna 22 Flo Kasearu 24 Kristi Kongi 26 Paul Kuimet 28 Kris Lemsalu 30 Marko Mäetamm 32 Marge Monko 34 Krista Mölder 36 ForewordForeword The Republic of Estonia is celebrating its 100th anniversary this year, as the republic was first declared on 24 February 1918. Many different cultures and peoples have passed across the relatively small territory of our state during the centuries, and all have left their traces in some form or another. The twists of history are an eternal subject for artists and writers, and although our country is small in its population, it is great and rich in its art, literature and culture. These recount the story of our people and so help to tell it to the wider world. We are proud to be able to say that art in Estonia continues to develop in many ways. The range of exhibitions at home and the international efforts of Estonian artists and curators shape the contemporary face of Estonian art. It should also be noted that Estonia has had a national pavilion at the Venice Biennale since 1997, one of the great events of cultural affairs and the oldest and best- known of art exhibitions.
    [Show full text]
  • Press Contact Press Kit Hassan Sharif Kris Lemsalu Malone & Kyp Malone Lemsalu Content
    1/16 Press Kit Hassan Sharif Kris Lemsalu Malone & Kyp Malone Lemsalu Content Press Release winter/spring program 2020 Hassan Sharif I Am The Single Work Artist Exhibition Text Biography Public Program Kris Lemsalu Malone & Kyp Malone Lemsalu Love Song Sing-Along Exhibition Text Biography Public Program Education and Art Mediation General Information Partners For image requests and text material, please contact Karoline Köber. As of February 26, 2020 / Subject to change Press Contact KW Institute for Contemporary Art Karoline Köber Tel. +49 30 243459 134 [email protected] KW Institute for Contemporary Art KUNST-WERKE BERLIN e. V. Auguststr. 69 10117 Berlin kw-berlin.de facebook.com/kwinstituteforcontemporaryart instagram.com/kwinstitutefcontemporaryart 2/16 Press Release Berlin, January 8, 2020 KW Institute for Contemporary Art presents winter/spring program 2020 KW Institute for Contemporary Art is pleased to announce its program for winter/spring 2020. With artistic positions by Hassan Sharif, Kris Lemsalu Malone & Kyp Malone Lemsalu, Jasmina Metwaly and Yazan Khalili as well as the collaboration with Archivio Conz and Kunsthalle for Music, this season continues examining the “body” as a composition— structurally, politically, emotionally, and musically—to scrutinize our understanding of (dis-) placement. Pause: Broken Sounds / Remote Music—Prepared Pianos from the Archivio Conz Collection January 16–19, 2020 Curators: Gigiotto Del Vecchio, Stefania Palumbo In collaboration with KW, Archivio Conz presents a five-day event with more than 20 prepared pianos by artists such as Ay-O, Dorothy Iannone, Nam June Paik, Ben Patterson, and Carolee Schneemann from Francesco Conz’s (1935–2010) collection to create a poetical environment, a possible architecture in which a number of performances by Nina Kurtela, Charlemagne Palestine, Phillip Sollmann & Konrad Sprenger, Sky Walking, Angharad Williams, and others take place.
    [Show full text]
  • Living Content 7 1 Kris Lemsalu, Born in 1985 in Tallinn, Estonia, Talks About Why She Switched a Future in Fashion for a Future
    Kris Lemsalu Kris Lemsalu, born in 1985 in Tallinn, Estonia, Living Content You grew up in Tallinn, talks about why she switched a future in Estonia, went to school in Denmark and fashion for a future in art. She reveals how Vienna, and now you live in Berlin. Do you feel attending a secret party in Estonia further that Estonia has had a particular influence on sparked her interest in costume making and your practice? performance, and how traveling informs her work. Now, as a skilled ceramicist, Kris knows Kris Lemsalu I think that a lot of the her materials intimately and integrates both materials that I use can be traced back to my sculptural elements and performative acts in childhood but I really don’t read these roots as her installations, to map the world around her directly connected to Estonia. For instance, I as a semi-fictional ground and to create what spent a lot of time in the countryside, milking she likes to call “a personal newspaper”. cows and stuff like that, so I have this direct — experience with nature and animals. It’s a difficult question. To get to the core of this Living Content 7 1 Freud would have to invite me to lie down on his couch and dig into my childhood LC The way you’re talking about the memories... physical feeling of making objects with your own hands, seems to be very gratifying for you LC Oh no, no (laughing). We don’t want to - just looking at your work I can imagine that get in psychoanalysis.
    [Show full text]
  • Kris Lemsalu CV
    Kris Lemsalu ! Lives and works in Vienna !Born 1985 in Tallinn, Estonia 2013 Akademie der Bildenden Künste, Wien 2008 Estonian Art Academy, Tallinn !Danmarks Designskole, Copenhagen Solo exhibitions 2012 Top sinner Pro Choice, Vienna EVIAN DESERT Galerie Tanja Wagner, Berlin Being together with Edith Karlson Tenmikova & Kasela, Tallinn Kris Lemsalu with Mads Westrup Hinter Haus des Meeres, Vienna 2011 Schneiderei.home.studio.gallery, Vienna 2008 !gallery Window 108, Copenhagen ! Group exhibitions and performances (selected) 2013 Urschleim Fauna, Copenhagen ART IST KUKU NU UT 2013: PRADA PRAVDA Tartu Art Museum, Noorus Gallery and Y gallery, Tartu is my territory. curated by MONICA BONVICINI Christine König Galerie, Vienna Jeden Tag Gelatin 21er Haus, Vienna The Mediterranean Dog COLE Gallery, London ephemeral self - finite projections Galerie NTK, Prague 90 years of ceramic education in Estonia Estonian Museum Of Applied Arts, Tallinn 2012 The scientific people Kunstraum Niederösterreich, Vienna Discussing Metamodernism Galerie Tanja Wagner, Berlin BLACK PAGES #31 Galerie Emanuel Layr, Vienna In passing 14 with Lilo Nein Künstlerhaus, Vienna Performance with the artist group Gelitin Tanzquartier Wien, Vienna Elaine MGK, Museum für Gegenwartskunst, Basel IHM Fair, Munich 2011 Art Forum, Helsinki Modeling agency 68squaremetres, Copenhagen There was a job to be done and everybody thought somebody would do it Kunstraum Niederösterreich, Vienna 2010 Kunstperformancenacht IV Ballhaus Ost, Berlin Reality Check with the artist group Gelitin Prague Curated by Pawel Althamer: Filmiki Dana Charkasi gallery, Vienna STATUS QUO VADIS, performance Melk Sammlung Lenikus, Vienna Creative House, performance Steiermark 2008 Space of doubt Undervand, Copenhagen RIHO !Estonian Art Museum, Tallinn Scholarships and awards 2011 BKV Prize, Munich .
    [Show full text]
  • Kris Lemsalu
    Kris Lemsalu Education Akademie der Bildenden Künste Wien, Department of Sculpture, professor 2014 Monica Bonvicini 2009 Danmarks Designskole, Department of Design 2008 Estonian Academy of Arts, Department of Ceramics Selected solo exhibitions 2018 Secession, Vienna, Austria 2018 Komplot, Brussels, Belgium 2018 Temnikova & Kasela, Tallinn, Estonia 2017 The Wild Ones, Koppe Astner, Glasgow, Scotland Going going, together with Kyp Malone, Performa 17 Biennial, curated by Esa Nickle 2017 and Maaike Gouwenberg, New York, USA CONDO collaborative exhibition, Kris Lemsalu with Koppe Astner, hosted by 2017 Southard Reid, London, UK Beauty and the Beast (together with Tiit Pääsuke), curated by Tamara Luuk, Tallinn 2016 Art Hall, Estonia Afternoon Tear Drinker, curated by Hemma Schmutz, Kunstraum Lakeside, 2016 Klagenfurt, Austria 2015 Blood Knot Step By Step, Bunshitu Gallery, Tokyo, Japan Selected group exhibitions 2018 There and Back Again, Museum of Contemporary Art Kiasma, Helsinki, Finland 2018 Performance at DRAF performance night, London, UK 2018 Where Other Creatures Put Their Eyes, Vermilion Sands, Copenhagen, Denmark Material Traces", curated by Felicitas Thun-Hohenstein, Charim Galerie, Vienna, 2018 Austria 2018 per-'sõ-nae, curated by Anna Lalla, Klemm's, Berlin, Germany 2018 Steps to Aeration, curated by Sarah McCrory, Tanya Leighton, Berlin, Germany 2018 The Hierophant, curated by Aaron Moulton, Galeria Nicodim Bucharest, Romania Metamorphosis, curated by Zdenek Felix, KAI 10 / Arthena Foundation, Düsseldorf, 2018 Germany; Galerie
    [Show full text]
  • Kris Lemsalu Eike Eplik 2016
    Kris Lemsalu Eike Eplik 2016 Kris Lemsalu In my bathtub I`m the captain (detail) 2012 Ceramics, textile, metal Eike Eplik Väike oks/ The Tiny Twig 2011 January Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 February Kris Lemsalu In my bathtub I`m the captain 2012 Ceramics, textile, metal March Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 April Kris Lemsalu Two silent instruments prepairing to tour forever (detail) 2013 Ceramics, textile, leather, bricks, legos May Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 June Kris Lemsalu When the big trees were kings 2011 Ceramics, metal, wool, fountain motors July Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We Th Fr Sa Su Mo Tu We 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 August Eike Eplik Puruvana / Caddisfl
    [Show full text]
  • Punk Pagan Trickster Feminist Sci-Fi Shaman: Kris Lemsalu
    Punk Pagan Trickster Feminist Sci-Fi Shaman: Kris Lemsalu CONVERSATIONS Mousse 64 by Andrew Berardini Lately my work feels more like a lone man’s smoke signal at sea, trying to find other humans. —Kris Lemsalu In a grand Edwardian opera house in London last year, a single voice rose from the darkness. As the lights slowly came up, the singer emerged standing on the balcony wearing only her makeup and an open, sky-blue caftan scattered with pink feathers. Like pure light through crystal, her song beamed with an ethereal beauty, rising in force as she chorused over and again, “In Heaven everything is fine.” One at a time, four figures (listed as archangels) emerged from the wings: David Bowie, Leonard Cohen, Prince, and George Michael. All of them had just died. A tribute to be sure, this message did not belong to them, but to all those grieving these musical heroes: the joyous outsiders, space oddities, and beautiful losers, those who bend this way and that, with no right angles or gravity to hold them down. Though it was only four actors playing these legendary song-makers, this song of mourning softened the tragedy of their deaths with the beauty of the performance. There’s a certain silliness in impersonators, but these stand-ins underlined the enormity of what we’ve lost. All we’re ever going to have of them now are copies, recordings playing over speakers, covered here and there with our own voices singing along as we always have. The singers have died; we sing on.
    [Show full text]
  • The Art World Mecca That Is Basel
    The art world mecca that is Basel You’ve probably already touched down in Hong Kong, London, Venice, and Berlin earlier this year, but now it’s time for one more stop: Basel. As the usually quiet Swiss city is inundated with the craze of the international art world and events that accompany it, we know it’s impossible to follow any kind of planned itinerary, but you can at least have a few specifics on your radar – and that’s where we come in. Here we give you an overview of where to be (and sometimes when) to avoid FOMO during your trip to the latest destination on the art world’s map. Let’s start with the obvious: the mecca that is Art Basel. As always, the fair is split into various segments with blue- chip names in the Galleries section and well (but lesser) established spaces in Statements. Outside of these, we have Parcours presenting projects throughout the city and Unlimited, a home for large- scale sculpture, film, and performances – in other words, not easily hung on the walls or showcased in the foyer. This year, Unlimited is perhaps the most exciting with work by VALIE EXPORT(her first Basel appearance since 2014, presented by Galerie Thaddaeus Ropac), Bunny Rogers (Société), Mika Rottenberg (Hauser & Wirth), Jacolby Satterwhite (Mitchell-Innes & Nash), Vajiko Chachkhiani(Daniel Marzona), and Pae White (neugerriemschneider), among others. It’ll be especially hard to miss Coco Fusco’s ten-foot-tall aluminum and steel sculpture Tin Man of the Twenty-First Century, 2018, which was created in response to Trump’s election and is presented by Alexander Gray Associates.
    [Show full text]