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Munichmodern / 12 munichmodern / 12 21 november–01 december, 2012 briennerstr. 1 / 80333 munich PRINCIPLES OF COMPOSITION. SOUNDING OUT SOURCES AT THE CUTTING EDGE OF MUSIC AND IMAGE a programmatic exhibition curated by Isabella Goebel & Alexandra von Stosch concept This year, munichmodern explores the synaesthetic tension between music and image from a historical perspective within a contemporary context. Interna- tional artists have conceived works specifi cally for this show, in dialogue with musical inspira- tions. We can experience how both disciplines meet to fi nd new forms of expression, opening to manifold sensual levels: Art to be heard and music to be seen! artist-composers Dieter Appelt (mm), Stephan Balkenhol (Galerie Jochen Hempel, Berlin), Christoph Brech, Daniele Buetti (Galerie Feldbusch- Wiesner, Berlin), Jan Davidoff (Munich), José-Maria Cano (Madrid), David LaChapelle (Fred Torres Collaborations, New York), Martin Eder (Galerie Eigen + Art Leipzig/Berlin und Hauser & Wirth, Zurich/London), Stefan Hirsig (Berlin), Christian Jankowski (Helga Maria Kloster- felde, Berlin), Bo Christian Larsson (Stockholm/Berlin), Scharein (Berlin), David Smyth (Vienna), Julia Terjung (Berlin), Bettina WitteVeen (New York/ Berlin), among others. José-Maria Cano, Countertenor Allegretto, 2012, encaustic on canvas, 110 x 80 cm context program Theoretical refl ections about art and music have press preview tue 20 nov 2012 11 am been voiced by 20th century creatives like Alex- ander Skrjabin and John Cage or by the cultural duration wed 21 nov– 12 pm sat 01 dec, 2012 philosopher Theodor W. Adorno. Skrjabin’s sound images und Cage’s complex designs of musical opening hours tue–sun 12–7 pm scores are important examples for the crossing of artistic boundaries. PRINCIPLES OF COMPOSITION musical performance thu 22 nov 2012 7 pm with José-Maria Cano is a programmatic exhibition featuring relevant positions and media of contemporary art. talk over coffee with Martin Eder sat 01 dec 2012 12 pm concert RUIN @ Münchner Kammerspiele 9 pm munichmodern / 12 munichmodern / 12 21 november–01 december, 2012 PRINCIPLES OF COMPOSITION briennerstr. 1 / 80333 munich 21 november–01 december, 2012 PRINCIPLES OF COMPOSITION briennerstr. 1 / 80333 munich Symphony in Flowers Loops of Tunes Martin Eder will perform with 115 cm Deathless Winter, Springtime, 2009, c-print, ca. x 153 LaChapelle, David The disturbing oil paintings by RUIN at Münchner Kammerspiele, Martin Eder (*1968) fi nd their idyllic-apocalyptic expression Werkraum, likewise in music: With his sound on sat 01 dec 2012 at 9 pm. collective RUIN he sets them into dark comatoes loops of tunes. Tickets available at Earth Laughs in Flowers, America, Between chamber music and www.muenchner-kammerspiele.de Ambient Electronic there primarily remain noise, destruc- tion and visual gesture. And Your Bird Can Sing Christian Jankowski (*1968), who Martin Eder, studied music and played guitar Recovery, acrylic in a rock band in the 80’s, trav- on canvas, 2012, elled to a CD-player factory in 180 x 240 cm, And Bird Your Photo Credit: China with his own instrument to U. Walter Berlin initialize a contest amongst the factory workers in search of the A “symphony“ relates to orchester music, traditionally composed of several, © Courtesy of: David best guitar solo. The 34 sound often four movements. David LaChapelle’s four fl ower arrangements seem to LaChapelle, Fred pieces performed by the partici- represent the individual voices of musical instruments, reviving the still-life Torres Collaborations, pants were separately burned on with resonance versus classical nature mortes. Their tonality is a refl ection of New York ; Studio CD’s and each permanently Christian Jankowski, Christian Can Sing, 2008, cd-player in guitar shape 3 cm 5 x 10 x 5, , 28 modern symphonies, and one might think of Prokofi ew or Skriabin. The quota- José-Maria Cano; installed by the artist into one of tion of everyday elements, such as newspapers is a bow to the tradition of the Gallery Bo Bjerggaard, the CD guitars. 20th century collage at the beginning of modernism, and then, the newspaper is Copenhagen There is no such thing as an empty referring to our times, inviting the viewer to engage. The American photo artist Dancing Queen Op Art and Wagner David La Chapelle (*1963) has always enriched modern with a grand appearance space or an empty time. There is for the last years. Since the 1980s he has seduced the public by his elaborate style Bettina WitteVeen is fascinated by The “Op Art” by Scharein (*1949) always something to see, some- of staged scenes ranging from the fl amboyant, as in “Archangel Michael“ to the the visual-acoustic potential and is featured with a selection of his delicate as in the fl ower compositions. the aura of historical testimonials. striking abstract color composi- thing to hear. In fact, try as we The concept artist shows an tions, which have been inspired 210 x 150 cm x 150 210 PUSSY, BLACK Jason Rhoades in front of Cano´s work may to make a silence, we cannot. exquisite composition of three by Wagner operas. His elaborate Musical Performance Burning Strings color photographs featuring a craft of applying dot by dot strikes John Cage in: Conversing with Cage, 1988 In 2006 the Californian installa- The Swedish born artist Bo Chris- dancing Leni Riefenstahl in the in its haptic beauty all the more tion artist Jason Rhoades opened tian Larsson (*1976) excels in 1943 fi lm version of the 1903 in the light of the current reign of a gallery space named “Johnny various disciplines, creating an opera “Tiefl and” in which para- technological digital “dots”. 2006, encaustic on canvas, Cash” in Los Angeles. It inaugu- evergrowing Gesamtkunstwerk of doxically many Sinti and Roma rated with a memorable show by videos, musical performances, were used as extras. José-Maria Cano (*1959), paying installations, and paintings in his Composition as homage to the ‘countertenor’ studios in Sweden and Berlin. Commentary in sublime encaustic works, Untitled, 2012, Socio-political sensibility including a well-noticed musical munichmodern presents Larsson Daniele Buetti, combined with striking aestheti- performance. Jason Rhoades’ again after a memorable perfor- Oh Boy, oh Boy cism is a key feature of Swiss born tragic accident in 2006 made mance at the Munich Residence in XXVIII-B, 2011, pigment colors on Daniele Buetti (*1955) who Cano’s historically the unique 2008 in collaboration with Steph- hand-made paper, became famous for his tattooed show of the gallery, which found anie Rosenthal (Haus der Kunst, behind acrylic model photographs and his light a renewal at MoCA Los Angeles. München; Hayward Gallery glass, laser boxes. His latest compositions rely Balkenhol, Stephan painted wood, chalk and coal on paper, cm x 100 140 Now, munichmodern presents a London). Now, we show a repre- contour cut. 185 x 145 cm on web information on current selection gathered from interna- sentative selection of new works, events of violence and war, which tional collections, as well as new such as “Schizophrenic Owls”. he transforms into abstract Between the Lines interpretations. Cano’s character- compositions beyond traditional Stephan Balkenhol’s statues and istic use of the encaustic creates a José-Maria Cano is one of the most harmonies. Time and events are reliefs are omnipresent in inter- sensoric, almost relief-like important contemporary passing by like a melody. Buetti national collections and the surface with translucent effects. composers. He will perform in asks: What is there to stay? public space. Rather unknwon, The musical scores engage the © Courtesy of: Galerie EIGEN + ART, Balkenhol (*1957) is also working interaction with the public at viewer to interact, just as Cano Leipzig, Berlin and Hauser & Wirth, on more delicate pieces. In our munichmodern12 within the will do himself in an exceptional Zurich; FeldbuschWiesner, Berlin; Helga lady portrait the jalousie recalls exhibition on thu, 22 nov at 7 pm. performance at Maria Klosterfelde, Berlin; Galerie musical scores, inviting us to read munichmodern12. Bo Christian Larsson, The Cataclysmic Raft-Out of Still of Harms , 2011, Way Performance Jochen Hempel, Berlin; – or sing – between the lines. Page 2/4 Page 3/4 munichmodern / 12 21 november–01 december, 2012 PRINCIPLES OF COMPOSITION briennerstr. 1 / 80333 munich Homage to Munich Imagining Rheingold Marcel van Eeden, Untitled, 2012, In his new Munich studio, Jan The meticulous black and white pencil and water Davidoff (*1976) has access to a pencil drawings by Marcel van color on hand- traditional forgery where he Eeden (*1965), are familiar made paper, found the 19th century copper around the globe. His latest works 114 x 171 cm plates from the roof of theMunich include color references, entering Residence. He uses them as a in a direct dialogue with art carrier for his works and visions historical statements. His large oscillating between fi gurative and work Rheingold, a “collage” of abstract compositions. The works drawn elements, gathering on the Jan Davidoff, created for this year’s white surface, hints to Pollock’s Klangportal, 2012, munichmodern focus on the all-over technique, a more literal mixed media on Herkulessaal. refl ection of what can be found in found copper plate, 95 x 155 cm Eeden’s intimate portfolio on modern art. 125 x 90 cm 125 collage, 2010, Marseille, Hirsig, Stefan Sampling A New Unity of Music Stefan Hirsig’s (*1966) artistic and Image claim has always been to cross In some of his video-works Chris- Das Mädchen aus borders between painting and toph Brech (* 1964) transforms sculpture, as well as art and music. music into a visual experience. His His collages, composed with the latest video Nationalpark shows use of vinyl records of the latest the shadows of people crossing a club sounds selected with DJs en wooden bridge. The sound of digi- vogue, are colorful proofs of this tally generated metronom-beats concept: It caters ironically to pop accompanies the steps of the culture and takes the great passing fi gures.
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