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KUB 09 Program 2009 Kunsthaus Bregenz KUB 09 Program 2009 Kunsthaus Bregenz Kunsthaus Bregenz “The Kunsthaus Bregenz is an open platform for both artwork and audience.” Eckhard Schneider With its long-term basic idea of work oriented on the core of art, the Kunsthaus Bregenz has achieved an unmistakable profile and a solid place amongst the leading exhibition spaces in Europe. It is the mutually fructifying blend of architecture, programming, curatorial practice, communication, education, and publications that has made KUB a distinctive model in the ar t world. This carefully elaborated Maurizio Cattelan plat form with its radical demands on the work continues to challenge and Ku n s th a u s B re g e n z, 02.02. – 24.0 3. 20 0 8 Installation view 3rd floor set standards as a dynamic model. 2 3 K U B P r o g r a m 2 0 0 9 Taking Stock 2008 General Facts 2008 Visitors: ca, 59,000 anticipated C o ntr i b u ti o n f ro m th e S t ate of Vo r a r l b e rg: 1.8 6 8,0 0 0 e u ro s (6 0.7%) Share covered by proceeds: 1.230,000 euros (39.3%) In 2008 we were able to continue the positive trend of our anniversary year in all areas. Not only will 20 08 close as quite a successful year econom- ically, but KUB was also able to reconfirm its international standing as one of the leading exhibition halls in Europe with large -scale shows by Maurizio Cattelan, Carsten Höller, and Jan Fabre. From audiences and the media an ex tremely positive resonance was received to the historically impor tant Richard Serra D r aw i n g s – Wo r k C o m e s O u t of Wo r k exhibition of drawings by Richard Serra as well as to the above-mentioned Ku n s th a u s B re g e n z, 14.0 6. – 14.0 9. 20 0 8 Installation view 3rd floor presentations of works created especially for the KUB. Overall, this clearly demonstrates the great scope of the KUB whose ongoing endeavors to build Jan Fabre ties to an “enlightened” audience has paid off. An important contribution in Fro m th e C e l l a r to th e At ti c – Fro m th e Fe et to th e B r a i n this respect has been made by major efforts in the areas of communication Ku n s th a u s B re g e n z, 27.0 9. 20 0 8 – 25.01. 20 0 9 Installation view 1st floor and education as well as through the worldwide distribution of publications. 4 5 K U B P r o g r a m 2 0 0 9 KUB 09 Program 2009 6 7 KunsthausK U B P r o g r a m 2Bregenz 0 0 9 Exhibitions 2009 Markus Schinwald 14 | 02 – 13 | 04 | 2009 Lothar Baumgarten 25 | 04 – 21 | 06 | 2009 Antony Gormley 12 | 07 – 04 | 10 | 2009 Tony Oursler 24 | 10 | 20 0 9 – 17 | 01 | 2010 Four exhibitions with artists from Austria (Schinwald), Germany (Baumgarten), Great Britain (Gormley), and the USA (Our sler) address the exploration of an ex tended perception of body, space, time, and societ y in architecture, art, and nature. All four exhibitions have been produced by the Kunsthaus Bregenz and involve new works created especially for it. Particularly worth Previous double spread mentioning is the inclusion of the young Austrian ar tist Markus Schinwald A n to ny G o r m l ey C r i ti c a l M a s s II, 19 9 5 as well as Lothar Baumgar ten’s and A ntony Gormley’s radical use of the Installation view, Musée d‘Art Moderne existing architecture. Through the work of Tony Oursler, the KUB brings St Etienne, France, 2008 Courtesy: Antony Gormley and this video sculpture pioneer’s subjective, strongly emotional video-sound Jay Jopling/White Cube, London Ph oto: Yve s B re s s o n installations back to Europe for his first large-scale exhibition in a long time. 8 9 K U B P r o g r a m 2 0 0 9 K U B 0 9 . 01 Markus Schinwald 14 | 02 – 13 | 04 | 2009 Markus Schinwald, b o r n i n S a l z b u rg i n 1973, l i ve s a n d wo r ks i n Vienna and Los Angeles. 1993–2000 University of Design, Linz; Humboldt-Universität zu Berlin. Exhibitions (selection): Migros Museum, Zurich; ICA Boston (2008); Tate Modern, London; Witte de With, Rotterdam; Kunsthalle Wien (2007); Fotomuseum Winterthur; Berlin Biennial (2006), Frankfurter Kunstverein (2004); Haus der Kunst, Munich (2003); Moderne Museet, Stockholm (2001). Schinwald uses different media and through subtle shifts explores space and the human b o d y a n d a n a l y ze s p e o p l e s’ p hys i c a l a n d mental shortcomings. Dancing objects, object-like dancers, marionettes, costumes, fetishes, encoded stories that exist in the no -man’s land of dance, theater, film, object, and image – the young Austrian ar tist Markus Schinwald gives the inanimate a per sonalit y and transforms people into puppet-like figures. With his films and built spaces, Markus Schinwald uses fragmentation and disjointed oneiric sequences to produce surprising gaps in the basic narrative structure of his works, leading to extremely aestheticizing images Markus Schinwald Te n i n Love, 20 0 6 and cra z y shif ts of realit y levels. Film still With new and old series Markus Schinwald will stage a surreal and panoptic array of insatiable wishes using bodies, objects, films, and built Markus Schinwald Exceptions prove the rule, 2007 spaces in what will be his largest solo exhibition in Austria to date. 10 11 K U B P r o g r a m 2 0 0 9 K U B 0 9 . 02 Lothar Baumgarten 25 | 04 – 21 | 06 | 2009 Lothar Baumgarten, Along with other major artists of his time like Joseph Beuys, Walter de born in Rheinsberg in 1944, lives and works in Berlin. 1968–1971 studied at the Kunstakademie Maria, or Robert Smithson, Lothar Baumgarten significantly extended the Düsseldorf with Joseph Beuys. 1977 and 1986 tr ave l l e d to B r a z i l a n d Ve n ezu e l a, w h e re h e l i ve d bounds of the ar t of the 19 6 0 s, par ticularly through his exploration with and with indigenous populations. in his reflections on the source of “nature.” However, unlike his American Exhibitions (selection): MACBA, Barcelona; Migros Museum, Zurich (2008); MUMOK, Vienna colleagues who oriented themselves on the power of reality, Lothar Baum- (2006); Hamburger Kunsthalle (2001); Guggenheim, New York (1993); Stedelijk garten challenged the Eurocentric view and, alternating between research Museum, Amsterdam (1985); documenta X (19 97 ), I X (19 92), 7 (19 82), 5 (1972). and documentation, openly confronted the unknown site-specific “other” of The conceptual artist Lothar Baumgarten’s work is mainly concerned with the antithesis of a given location. Again and again he tracked down the phantom of “nature” nature and culture and themes like colonization within culture through his ephemeral, three-dimensionally materialized and civilization. comments, drawings, photographs, slide projections, films, and documen- tary sound recordings. In long-term projects he developed presentation spaces that primarily explored different cultural systems and their specific conceptions of space and time. For Bregenz the ar tist is developing a work that is radically new even to himself. Depar ting from sound recordings made during a four-year period on Denning’s Point, a peninsula that juts out into the Hudson River nor th of New York, Lothar Baumgar ten will create an audio work in seven “phonetic sculptures” for three floors of the KUB. They will be acoustic pieces of urban phonetic structures marked by changing weather conditions, animal cries, and sounds made by plants and the movements of man and machine. A document of found conditions that render s audible a phonic realit y exposed to the changing seasons (ice floes, diesel locomotives, bullfrogs, wind and rain ...). On each floor the visitor will encounter a different, roughly Lothar Baumgarten A m e r i c a I nve nti o n 19 8 5 –19 8 8, 19 9 3 one-hour-long acoustic picture amidst empty architecture. Installation view Solomon R. Guggenheim Museum, N ew Yo r k, 19 9 3 These sound pieces draw their physicalit y and sculptural character © Lothar Baumgarten, VBK, Wien, 2008 from the complexity of their intonation. They have a symphonic dimension. Special surround sound technology virtually transports the listener to Lothar Baumgarten America: Señores Naturales the location where the events took place and lets him or her experience the Venice Biennale, 1984 © Lothar Baumgarten, VBK, Wien, 2008 drama and powerful enactment of nature transformed into culture. 12 13 K U B P r o g r a m 2 0 0 9 K U B 0 9 . 03 Antony Gormley Exhibition at the KUB 12 | 07 – 04 | 10 | 2009 A n to ny G o r m l ey, born in London in 1950, lives and works in London. 1968–1971 Trinity College, Cambridge; 1974–1979 Central School of Art; Goldsmith College; Slade School of Art; Turner Prize (1994).
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