DOCSLIB.ORG

Mumok Annual Press Conference 2017 Statement of the Directors

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mumok Annual Press Conference 2017 Statement of the Directors mumok Annual Press Conference 2017 mumok Statement of the Directors mok Museum moderner Kunst Mus For 2017, mumok has planned an outstanding program. We will continue to build Stiftung Ludwig Wien eum Museumsplatz 1, 1070 Wien bridges between international and national positions in art. One of our key goals is to mod erne firmly anchor Austrian art within the context of international developments. r Annual Press Conference 2017 Kun January 12, 2017, 10 am We see our responsibility in furthering the profile of mumok both nationally and st Stift internationally, as a key voice in current discourse on contemporary art and art Statement by Karola Kraus and ung Cornelia Lamprechter history. mumok is the largest museum for modern and contemporary art in central Lud Exhibitions overview 2017 wig Europe, and we wish to further expose our collection to external perspectives. Good New acquisitions 2016 Wi examples of this are the projects by Austrian artists Jakob Lena Knebl and Martin Detailed exhibition program 2017 Mus Beck, both of whom are creating new own works for their mumok shows while also eum splat presenting parts of the museum’s collection in a new light. These two exhibitions are z 1, also an important contribution to strengthening the profile of Austrian art and culture. 107 0 The coming year will also see the second awarding of the Kapsch Contemporary Art Wie Prize, a solo exhibition by British artist Hannah Black, and the first ever museum n Press contact show and performance by the pop duo Fischerspooner in Austria—making for Karin Bellmann pioneering young Austrian and international positions. Projects like the large T +43 1 52500-1400 Júliu [email protected] exhibition Natural Histories and a review of the collecting activities of Wolfgang Hahn s Koll toward the close of the year will also underscore mumok’s leading role in defining Katja Kulidzhanova er T +43 1 52500-1450 and addressing issues in the history of art over the past fifty years. Auss [email protected] tellu ngs This ambitious program and our continued work on expanding our collection mean Fax +43 1 52500-1300 dau [email protected] that we must secure, earn, and acquire the necessary funds. This goes well beyond er: www.mumok.at 12. our basic state funding and we crucially require the support of external partners and Febr patrons. We are proud to have the support of the Kapsch Group, whose commitment uar bis makes it possible for us to sustainably promote the young Austrian art scene. 2016 16. was a particularly successfully year for donations of works to the museum. Thanks to Mai the generous support of donors, we have been able to add new key works from the 201 6 1960s to today to our collection. Ope ning The success of mumok should not allow us to neglect the important fact that from : 2018 a significant increase in our basic funding will be urgently necessary to 11. Febr maintain our work and to continue to fulfil our core task. Without such an increase, uar mumok’s work in fulfilling its mission as a museum and in maintaining its own 201 infrastructure will be under threat. 6 Karola Kraus, Director, and Cornelia Lamprechter, Managing Director Pres seko ntak t Kari 1 Press information,January 12, 2017 n Bell man Gift of Gertraud and Dieter Bogner: Friedrich Kiesler Austrian Collectors Give mumok Their Collection of Important Works by the Visionary Artist Friedrich Kiesler mok Mus Gertraud and Dieter Bogner are among mumok’s most dedicated supporters, eum passionately connected with the museum for the past ten years. The couple gave mod erne mumok a large collection of works back in 2007, and their collection has been r catalogued and researched by the museum. In 2017 this cooperation is crowned by Kun a very special gift to the museum. Today, on January 12, 2017, Gertraud and Dieter st Stift Bogner are giving mumok numerous major works by the Austrian–American ung architect, artist, stage designer, and theorist Friedrich Kiesler. These works will be Lud wig on permanent loan within the auspices of the Austrian Friedrich and Lillian Kiesler Wi Private Foundation and will continue to be accessible to the public in their premises, Mus as has been the case for many years. eum splat z 1, The Bogners’ interest in concrete abstraction, and in conceptual and media-based 107 0 approaches and art movements is unusual for Austrian collectors. Their purchases Wie are consistently based on a focus on the contents of formal works and theory. This is n also true of their support of the work of Friedrich Kiesler generally and now also in terms of their generous gift to mumok. Kiesler began early to break down the Júliu borders of conventional notions of genre, building bridges between various types of s Koll art. “The Bogners’ collection contains both art with an affinity to discourse and er corresponding text and archive materials. This kind of comprehensive and discursive Auss tellu collection is a core part of mumok’s identity as a museum. It is a great stroke of good ngs fortune for mumok that we are being given major works by Kiesler as a gift, including dau a series of vintage prints of the 1924 City of Space, one of two existing models for an er: 12. Endless House (1959), the large conceptual drawing for the Vision Machine Febr (1941/1949), and numerous further works and archive materials”—mumok General uar bis Director Karola Kraus is clearly delighted. 16. Mai Gertraud and Dieter Bogner explained their decision as follows: “We are convinced 201 6 that the significance and standing of the works by Friedrich Kiesler that we are giving to mumok will become fully evident through the contractual agreement to Ope ning cooperate between mumok and the Austrian Friedrich and Lillian Kiesler Private : Foundation. It is important for us that in increasing our 2007 gift to the museum with 11. Febr our Kiesler collection we are able to guarantee the conceptual unity of the collection uar we have been building for some decades now. We also wish that the Kiesler Archive 201 is able to work with these major works and to present them to the general public.” 6 This gift is accompanied by the publication of the second part of the collection catalogue, entitled Perspectives in Motion. This will link that part of the collection focusing on works prior to 1945 with the most important writings by Dieter Bogner on art theory and history, addressing this period in general and the related collection. The collection that this catalogue volume presents stands for the concept that Dieter Bogner himself formulated for a “transdisciplinary museum of the history of ideas in Pres seko ntak t Kari 2 Press information,January 12, 2017 n Bell man Austrian modernism,” as a tender for the 1989 competition “Museumsquartier.” This truly welcome idea is still awaiting implementation. 3 Press information,January 12, 2017 Preview: Exhibition Year 2017 at mumok In 2017, mumok is presenting an ambitious program of exhibitions. The first half of the year is particularly shaped by women’s voices. We begin with a new arrangement of the mumok permanent collection, curated by artist Jakob Lena Knebl. Entitled Oh… Jakob Lena Knebl and the mumok Collection, this presentation will reset works of classical modernism and the 1970s and also include new courageously eccentric own works by the artist. At the same time we present Small Room, a solo show by British Hannah Black. Her young and decidedly feminist position will then lead to the historical feminist works from the SAMMLUNG VERBUND collection, whose current touring exhibition Feminist Avant-garde of the 1970s from the SAMMLUNG VERBUND will be shown from May in mumok under the heading WOMAN. With a solo exhibition by Martin Beck in summer 2017, mumok recognizes the achievement of one of Austria’s most important contemporary artists. At the same time Beck will present his own view of the mumok collection by showing a selection on the entrance level to the museum. The summer also includes the artist duo Fischerspooner, who are among the most prominent protagonists of international pop culture. Casey Spooner and Warren Fischer will present their glaring and playful universe full of queer lust and countless references to pop culture in the shape of a large installation. After its successful première in 2016, the Kapsch Contemporary Art Prize will again be jointly awarded to a newcomer living primarily in Austria by the Kapsch Group and mumok in 2017. The prize comes with 5,000 Euro prize money and a solo show at mumok, with an accompanying publication. The Kapsch Group will also purchase a work by the winner for the mumok collection. The year will conclude with two large thematic exhibitions. In the group exhibition Natural Histories, invited artists will explore representations of nature with reference to social processes and events from contemporary history. The second exhibition will present one of the key personalities in mumok’s own history to the general public, as already done in the 2015 exhibition Ludwig Goes Pop. This time the focus is on collector Wolfgang Hahn, whom mumok has to thank for much of its collections of works of nouveau réalisme, Fluxus, happenings, and conceptual art. Thanks to generous support from the mumok Board, from 2017 all exhibition openings will be celebrated in Hans Schabus’s Café Hansi. This bar decorated with all kinds of paraphernalia associated with the everyday name of Hans will open on March 16, 2017. 4 Press information,January 12, 2017 mumok cinema 2017 mumok cinema has now been running for over five years, promoting the exchange of ideas and critical exploration.
Load more

Recommended publications
  • Mumok Annual Press Conference 2018 Directors' Statement
    mumok Annual Press Conference 2018 Directors’ Statement mumok Museum moderner Kunst An annual press conference invariably marks a caesura – occasion to pass in review Museu Stiftung Ludwig Wien the foregoing twelve months and to direct one’s sights to the coming year. It m Museumsplatz 1, 1070 Vienna modern provides us with an opportunity to delineate our position as a venue for modern and er contemporary art, and to critically examine the parameters within which we both Kunst Annual Press Conference 2018 Stiftung align our activities and calibrate our success in times of major socio-political January 11, 2018, 10 am Ludwig transformation and increasingly scarce financial resources. Wi Statement by Karola Kraus and Museu Cornelia Lamprechter msplatz Exhibitions overview 2018 The mumok is the major museum of modern and contemporary art in Central 1, 1070 New acquisitions 2017 Europe. Our responsibility, as we understand it, is to make visible Austrian art in the Wien Detailed exhibition program 2018 context of international developments, and to thus bolster the house’s national and international standing. While general economic conditions for museums have Július Koller evidently further deteriorated, we nevertheless succeeded in 2017 to implement a Ausstell highly ambitious and discursive programme bond to both broad public and specialist ungsda interest. uer: 12. In addition to the thematic presentations, such as WOMAN. FEMINIST AVANT-GARDE Press contact Februar Katharina Murschetz of the1970s from the SAMMLUNG VERBUND Collection, or Natural Histories. Traces bis 16. T +43 1 52500-1400 of the Political in conjunction with Martin Beck’s Personale rumors and murmurs, the Mai [email protected] 2016 mumok presented an exhibition arranged by artists with various works drawn from Katja Kulidzhanova our collection.
    [Show full text]
  • PRESS RELEASE Art Into Life!
    Contact: Anne Niermann / Sonja Hempel Press and Public Relations Heinrich-Böll-Platz 50667 Cologne Tel + 49 221 221 23491 [email protected] [email protected] PRESS RELEASE Art into Life! Collector Wolfgang Hahn and the 60s June 24 – September 24, 2017 Press conference: Thursday, June 22, 11 a.m., preview starts at 10 a.m. Opening: Friday, June 23, 7 p.m. In the 1960s, the Rhineland was already an important center for a revolutionary occurrence in art: a new generation of artists with international networks rebelled against traditional art. They used everyday life as their source of inspiration and everyday objects as their material. They went out into their urban surroundings, challenging the limits of the art disciplines and collaborating with musicians, writers, filmmakers, and dancers. In touch with the latest trends of this exciting period, the Cologne painting restorer Wolfgang Hahn (1924–1987) began acquiring this new art and created a multifaceted collection of works of Nouveau Réalisme, Fluxus, Happening, Pop Art, and Conceptual Art. Wolfgang Hahn was head of the conservation department at the Wallraf Richartz Museum and the Museum Ludwig. This perspective influenced his view of contemporary art. He realized that the new art from around 1960 was quintessentially processual and performative, and from the very beginning he visited the events of new music, Fluxus events, and Happenings. He initiated works such as Daniel Spoerri’s Hahns Abendmahl (Hahn’s Supper) of 1964, implemented Lawrence Weiner’s concept A SQUARE REMOVAL FROM A RUG IN USE of 1969 in his living room, and not only purchased concepts and scores from artists, but also video works and 16mm films.
    [Show full text]
  • Download Press
    MuseumsQuartier Wien Press Information November 2020 1 Contents 3 Fact Sheet Tickets & Services 7 The MuseumsQuartier Wien: Art Space – Creativity Space – Living Space Crystallization Point of a Cultural District The Architecture: A Built Vision Now 4,5 Million Visitors a Year Statistics of Success MQ Marketing Campaigns MQ Point as a Central Contact Point for Visitors Popular Outdoor Programs in the Courtyards 17 Q21 – the creative space at MuseumsQuartier Wien 23 The MuseumsQuartier as a Landscape of Cultural Variety Cultural Institutions in the MQ: 1. Museums 2. Gallery Spaces 3. Performing Arts 4. Children’s Culture Cafés and Restaurants in the MQ Shops 43 Architecture An Architectural Tour of the Complex 2 Fact Sheet Location MuseumsQuartier Wien, Museumsplatz 1, A–1070 Vienna Hours The complex is open to the public 24 hours a day. Hours of the individual institutions: www.mqw.at Year Opened 2001 Visitor Statistics Entire complex: approx. 4,5 million Net Floor Area approx. 90,000 m2 Resident Institutions Q21 LEOPOLD MUSEUM museum moderner kunst stiftung ludwig wien (mumok) Architekturzentrum Wien Kunsthalle Wien Halle E+G Tanzquartier Wien ZOOM Kindermuseum DSCHUNGEL WIEN Theaater for Young Audiences wienXtra-kinderinfo MQ Point Daily, 10:00–19:00, Main Entrance Info-Tickets-Shop Tel: 0820/600 600 (in Austria only) Tel: +43/1/523 58 81-1731 (from other countries) Fax: +43/1/523 58 81-1733 Management MuseumsQuartier Errichtungs- und Betriebsgesellschaft CEO: Christian Strasser Assistant General Manager: Nina Wenko Museumsplatz 1, A-1070 Vienna Tel: +43/1/523 58 81, Fax: +43/1/523 58 81 86 Email: [email protected] Web: www.mqw.at Press Contact MQ: Irene Preissler Phone: +43/1/523 58 81-1712, Fax: +43/1/523 58 86 Email: [email protected] Public Transport/Parking Subway (U-Bahn): U2 (MuseumsQuartier); U2, U3 (Volkstheater) Bus: 48a (Volkstheater), City-Bus 2A (MuseumsQuartier) Streetcar (Strassenbahn): 49 (Volkstheater) There is a parking garage at the MuseumsQuartier.
    [Show full text]
  • Enjoy – the Changing Mumok Collection
    Enjoy – the Changing mumok Collection Press conference: Ten years after joining the museum, Karola Kraus is organizing with her team a col- Friday, June 18, 2021, 10 am lection presentation that includes central gifts and acquisitions from the past decade. Opening: The selected works range from classical modernism to the present day, following the Opening weekend: June 19 / 20, 2021 path of the collection’s development. Twenty years after mumok opened in Vienna’s Exhibition duration: MuseumsQuartier, and forty years after the founding of the Austrian Ludwig Founda- June 19, 2021 through March 13, 2022 tion, this exhibition is both a survey of the past and a glimpse ahead to the future. As the past years are reviewed, new perspectives are proposed as basis for the muse- um’s future collection and exhibition activities. The collection exhibition Enjoy sets out to convey the intertwining of past and present as a living process of continual reassessment and revaluation that reflects ever-chan- ging socio-political, socio-cultural, and philosophical developments and discourses. The main themes cut across time and media: the depiction of life in society, the human body, and nature, as well as migration and the drawing of boundaries. Field of Reference: Classical Modernism The exhibition reviews mumok’s historical holdings from the vantage point of con- temporary artists who are reactivating modernist formal vocabulary in their work, revealing the contradictions as well as the unfulfilled potential of the utopian project Corita Kent (Sister Corita) of modernism. The show opens with a look at how Western modernism has drawn the sea queen, 1973 mumok – Museum moderner Kunst its lifeblood from other cultures.
    [Show full text]
  • Before Projection: Video Sculpture 1974–1995 Contents
    Henriette Huldisch Before Projection: Video Sculpture 1974–1995 Contents 5 Director’s Foreword 9 Acknowledgments 13 Before and Besides Projection: Notes on Video Sculpture, 1974–1995 Henriette Huldisch Artist Entries Emily Watlington 57 Dara Birnbaum 81 Tony Oursler 61 Ernst Caramelle 85 Nam June Paik 65 Takahiko Iimura 89 Friederike Pezold 69 Shigeko Kubota 93 Adrian Piper 73 Mary Lucier 97 Diana Thater 77 Muntadas 101 Maria Vedder 121 Time Turned into Space: Some Aspects of Video Sculpture Edith Decker-Phillips 135 List of Works 138 Contributors 140 Lenders to the Exhibition 141 MIT List Visual Arts Center 5 Director’s Foreword It is not news that today screens occupy a vast amount of our time. Nor is it news that screens have not always been so pervasive. Some readers will remember a time when screens did not accompany our every move, while others were literally greeted with the flash of a digital cam- era at the moment they were born. Before Projection: Video Sculpture 1974–1995 showcases a generation of artists who engaged with monitors as sculptural objects before they were replaced by video projectors in the gallery and long before we carried them in our pockets. Curator Henriette Huldisch has brought together works by Dara Birnbaum, Ernst Caramelle, Takahiko Iimura, Shigeko Kubota, Mary Lucier, Muntadas, Tony Oursler, Nam June Paik, Friederike Pezold, Adrian Piper, Diana Thater, and Maria Vedder to consider the ways in which artists have used the monitor conceptually and aesthetically. Despite their innovative experimentation and per- sistent relevance, many of the sculptures in this exhibition have not been seen for some time—take, for example, Shigeko Kubota’s River (1979–81), which was part of the 1983 Whitney Biennial but has been in storage for decades.
    [Show full text]
  • Class Reunion Works from the Gaby and Wilhelm Schürmann Collection
    Class Reunion Works from the Gaby and Wilhelm Schürmann Collection June 23 to November 11, 2018 museum moderner kunst stiftung ludwig wien Entry into the Class Register Gaby and Wilhelm Schürmann do not see their collection as just private property or a prestige object, but rather as an item of cultural value that needs exchange with the public. Their collection has been constantly growing since the late 1970s, and it provides an incomparable view of the development of contemporary art from the 1980s onward. This is a progressive statement on behalf of contemporary art that is anchored in social issues and sees itself as a form of communication. The rationale behind the collection, which is held in Herzogenrath near Aachen and in Berlin, is both creative and productive, and the two collectors’ practice can be described as a particularly free-spirited form of cultural production. The act of collecting is realized less in the processes of keeping artworks and completing a collection, and is instead understood mainly as an invitation to participate in the public production of relationships. This very pragmatic and hands-on approach is manifested in sensual and unconventional gestures of presenting, including the principle of “comparative seeing.” In this sense, the Class Reunion exhibition will unravel an exciting, humorous, and surprising dialogue between the diverse artistic positions in the collection, establishing unexpected points of contact. One focus is on Viennese influences on this international collection and its networks. “Art and the ways in which we approach it,” Wilhelm Schürmann says, “are a never-ending process for me, which can and has to be continually changed.
    [Show full text]
  • Gallery Text COSIMA VON BONIN. HIPPIES USE SIDE DOOR
    COSIMA VON BONIN. HIPPIES USE SIDE DOOR. THE YEAR 2014 HAS LOST THE PLOT. 4. 10. 2014 – 18. 1. 2015 English museum moderner kunst stiftung ludwig wien Introduction Imprint Exhibition Publication mumok COSIMA VON BONIN. COSIMA VON BONIN. HIPPIES USE SIDE DOOR. HIPPIES USE SIDE DOOR. MuseumsQuartier THE YEAR 2014 HAS LOST THE PLOT. THE YEAR 2014 HAS LOST THE PLOT. Museumsplatz 1, A-1070 Wien Published by Verlag der Buchhandlung T +43 1 52500 4.10.2014 – 18.1.2015 Walther König, Cologne [email protected], www.mumok.at ISBN 978-3-86335-633-0 (engl.) Curator: Edited by Karola Kraus Director: Karola Kraus Karola Kraus with Cosima von Bonin Produced by Manuel Millautz Curatorial Assistant: Kristina Schrei Exhibition Management: Sibylle Kulterer, Dagmar Steyrer Exhibition Booklet Outside Project: Claudia Dohr Conservation: Christina Hierl Edited by Jörg Wolfert, Kunstvermittlung The injunction “Hippies Use Side Door” stands at the entrance to Cosima von Bonin’s Exhibition Installation: Olli Aigner, Gregor mumok studio in Cologne; it is also the title of her exhibition at mumok. This opening salvo is Neuwirth, Wolfang Moser, Andreas Petz, Text: Jörg Wolfert obviously not meant literally: there is no side door and besides, the time of the hippies is must. museum standards Translations: Alexander Scrimgeour Press: Karin Bellmann, Barbara Wagner Graphic Design: Olaf Osten over. But this phrase, which American store owners originally used to deter an alternative Marketing: Leonhard Oberzaucher Cover: Cosima von Bonin with PURPLE youth culture in the 1960s, communicates key themes of Cosima von Bonin’s work: Events: Maria Fillafer, SLOTH RABBIT in wheelchair Katharina Radmacher Photo: Rudolf Sagmeister insecurity, provocation, ambiguity, and a sly sense of humor.
    [Show full text]
  • Symposium: My Body Is the Event Vienna Actionism And
    Symposium: My Body Is the Event Vienna Actionism and International Performance mumok Museum moderner Kunst The expansion of painting, abreaction, body analysis, self-mutilation, and Stiftung Ludwig Wien shamanism. International experts discuss the relationships between Vienna Museumsplatz 1, 1070 Wien Actionism and international performance art. April 24, 3.30–7 pm In My Body Is the Event. Vienna Actionism and International Performance, an April 25, 11 am–6 pm Location: mumok Hofstallungen exhibition running to August 23, 2015, mumok is presenting its own large collection Admission free of Vienna Actionism within the context of international developments in the 1960s and 1970s. Actions by Günter Brus, Otto Muehl, Hermann Nitsch, and Rudolf Schwarzkogler are compared and contrasted with works by artists including Marina Abramović, Chris Burden, VALIE EXPORT, Terry Fox, Tomislav Gotovac, Ion Grigorescu, Natalia LL, Paul McCarthy, Ana Mendieta, Bruce Nauman, Yoko Ono, Gina Pane, Neša Paripović, Ewa Partum, Carolee Schneemann, Wolf Vostell, and Hannah Wilke. Divided into several thematic sections, this exhibition addresses questions that were already at issue in the action art of the 1960s and 1970s. The presentation clearly shows that the Vienna artists were not only right up with the times but in many cases true pioneers. Rudolf Schwarzkogler On Friday, April 24, 2015, from 3.30 pm, and on Saturday, April 25, 2015, from 11 3. Aktion, 1965 am, renowned experts on Vienna Actionism, performance, and dance will be Black-and-white photograph Museum moderner Kunst Stiftung Ludwig discussing the questions raised by this exhibition. These experts include the artists Wien, on loan from the Austrian Ludwig Hermann Nitsch and Günter Brus, the writer Ferdinand Schmatz, and well-known Foundation since 1984 theater critic and scholar Hans-Thies Lehmann.
    [Show full text]
  • Mumok Exhibitions 2015 Ludwig Goes
    mumok Exhibitions 2015 mumok Museum moderner Kunst Ludwig Goes Pop Stiftung Ludwig Wien February 12 to September 13, 2015 Museumsplatz 1, 1070 Vienna Opening: February 11, 2014, 7 pm Exhibition program 2015 Curated by Susanne Neuburger From February 2015, mumok is presenting on four levels one of the world’s most significant holdings of Pop Art—the collection of the German industrialists Peter and Irene Ludwig. In this extensive overview, around 100 works from seven different Press contact institutions associated with the Ludwigs will be brought together. Exhibits from the Museum Ludwig Cologne, the Ludwig Forum for International Art, Aachen, the Karin Bellmann Ludwig Museum in the Deutschherrenhaus Koblenz, the Kunstmuseum Basel, the T +43 1 52500-1400 [email protected] Ludwig Múzeum in Budapest, the Ludwig Museum for International Art in Beijing, and mumok will be on show in Vienna to September 2015. Katja Kulidzhanova T +43 1 52500-1450 [email protected] Pop Art was quicker than any other art movement of the twentieth century to gain entrance to art markets, and was widely exhibited and enthusiastically received as Fax +43 1 52500-1300 [email protected] soon as it began to emerge on the scene in the USA. Peter and Irene Ludwig first www.mumok.at discovered American Pop artists in the mid-1960s, when this movement was still largely unknown in Germany. It was only with presentations at the 1964 Biennale di Venezia and documenta 4 (1968) in Kassel that Pop Art became known to a broader European audience. The Ludwigs were interested in those artists who are today seen as the legendary protagonists of Pop Art: Jim Dine, Robert Indiana, Jasper Johns, Roy Lichtenstein, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Andy Warhol, and Tom Wesselmann.
    [Show full text]
  • GALERIE KRINZINGER SEILERSTÄTTE 16, 1010 WIEN TEL. +43 1 513 30 06 FAX +43 1 513 30 06 33 [email protected]
    GALERIE KRINZINGER SEILERSTÄTTE 16, 1010 WIEN TEL. +43 1 513 30 06 FAX +43 1 513 30 06 33 [email protected] CHRIS BURDEN Born in 1946 in Boston Massachusetts Died 2015 in Topanga, California, USA EDUCATION 1969 B.F.A., Pomona College, Claremont, CA 1971 M.F.A., University of California, Irvine, CA TEACHING 1978 San Francisco Art Institute, San Francisco, CA 1978 to 2004 University of California, Los Angeles, CA SOLO EXHIBITIONS 2018 Measured, Britannia Street, London, England 2017 ChPiracy (vol.1), Super Dakota, Brussels, Belgium 2016 Buddha’s Fingers, Gagosian Gallery, New York, New York, USA Bridges, Gagosian Park & 75, New York, New York, USA 2015 Small Steps 15 Foot Skyscraper, Gagosian Gallery, Beverly Hills, CA Chris Burden, Gagosian Gallery, Le Bourget, Paris, France 2014 Light of Reason, The Rose Museum, Brandeis University, Waltham, Massachusetts, permanent exhibition Chris Burden: The Master Builder. The Rose Art Museum, Brandeis University, Waltham, MA 2013 Metropolis (Studies)/Bridge/Coyote Stories, Galerie Krinzinger, Vienna, Austria Chris Burden, Gagosian Gallery, Beverly Hills, California, USA Extreme Measures, New Museum, New York, USA 2012 Chris Burden, From the Collection, Magasin 3 Stockholm Konsthall, Stockholm, Sweden, Small Skyscraper (Quasi Legal Skyscraper), Armory Center for the Arts, One Colorado, Pasadena, California Metropolis II, Los Angeles County Museum of Art, Los Angeles, California, USA 2011 Beehive Bunker, Inhotim, Brumadinho, Brazil, permanent installation Three Ghost Ships, Portland Museum, Portland, Oregon, October 1, 2011 to January 22, 2012. 2010 Dreamer’s Folly, Nomadic Folly and The Rant, The Heart: Open or Closed, Gagosian Gallery, Rome, Italy, February 13 to March 27, 1010.
    [Show full text]
  • Wirwegbereiter-Wandtexte-E.Pdf
    We Trailblazers: Pioneers of Postwar Modernism Collection and archive stand in the focus of this exhibition on two levels of the mumok. They are illustrated by means of the museum’s first collection—which its founding director Werner Hofmann began to gather together in 1959— and by means of its first archive: a media archive of visual art from the postwar period, which Viktor Matejka donated to the museum in 1979. Matejka (1901–1993) was a writer, public educator, and politician responsible for cultural affairs as well as a constant and often unconventional supporter of the arts. As a member of Vienna’s city council, he was made responsible for culture and public education in 1945. Often referred to as the »conscience of the nation,« he compiled multiple archives of magazine and newspaper clippings, beginning in the 1920s. Werner Hofmann (1928–2013) was an art historian, exhibition organizer, and museum director. As adherent of the Vienna School of Art History, it was important to him to link education and museum, theory and practice. In the ten years he worked here (1959–69), he built up Austria’s first internationally oriented museum of modern art, something that had been demanded from cultural policy makers since Otto Wagner. In different ways and at different times, Hofmann and Matejka were confronted with the question of a cultural new beginning. As a declared antifascist, Matejka made efforts to bring emigrants like Oskar Kokoschka and Arnold Schoenberg back to Vienna. With his purchases and exhibitions, Hofmann primarily brought to Vienna prewar international modern art, which he saw as the pivotal turning point for the developments of the entire century.
    [Show full text]
  • 18.5.2014 Exhibition Booklet Introduction “Museum for Sale Due to Bankruptcy,” Is the Exhibition’S Provocative Title in French
    Herbert Foundation and mumok in Dialogue / 21.2.–18.5.2014 Exhibition Booklet Introduction “Museum for sale due to bankruptcy,” is the exhibition’s provocative title in French. The odd but humorous announcement comes from the Belgian artist Marcel Broodthaers. In1971 he placed as the main feature on the double page of his gallery’s entry in the catalogue of the Cologne art fair. The “why?” and the question of the museum affected remain open, and one soon begins to suspect that the idea of the museum is generally being called into question. This action was a part of Broodthaers’ “fi ctive museums,” which he realized in the form of exhibitions, installations, and interventions between 1968 and 1972. These were a fundamental examination of the function of the museum and its role in the production of meaning, which is not least subject to fi nancial interests. The project was thus a criticism of traditional ideas of the museum, now felt to be outdated, and a plea for their radical opening up. With his fi ctive museums, Broodthaers became an important early representative of institutional critique. Annick and Anton Herbert received the decisive stimulus for their collecting activity through their personal encounter with Broodthaers. Like him they were close to the 1968 movement, and in the early 1970s decided to support work that—parallel to the desire for social renewal at the time—was impelling an extension of the concept of art and the artwork. In close contact with the artists and progressive gallerists of this time of upheaval they purchased signifi cant works of Minimal and Conceptual Art.
    [Show full text]