News

  • GAVIN TURK @ 'The Art of Chess', Saatchi Gallery, London


    08.09 - 03.10.2012

    "From my close contact with artists and chess players I have come to the personal conclusion that while all artists are not chess players, all chess players are artists." Marcel Duchamp, 1952. 

    This exhibition brings together 16 chess sets designed by some of the world's leading contemporary artists in celebration of the 'game of kings' and its continued relevance to the creative arts.

    These specially commissioned chess sets have been created by: 

    Maurizio CattelanJake and Dinos ChapmanOliver CleggTracey EminTom FriedmanPaul FryerDamien HirstBarbara KrugerYayoi KusamaPaul McCarthy,Alastair MackieTim Noble and Sue WebsterMatthew RonayTungaGavin Turk and Rachel Whiteread.

    Each set is individually crafted in a wide variety of different materials including wood, porcelain, glass, amber and silver. 

    www.saatchi-gallery.co.uk

  • Mark Hagen – Made in L.A.


    Bass Elegy/Devil’s Night (for M.K.)

    A Performance by Made in L.A. Artists Scott Benzel and Mark Hagen. Saturday, September 1st, 2012 at 8 PM

    Scott Benzel and Mark Hagen have fit a 1970's Ford Pinto with an oversized, custom pyramidal bass cabinet and will play a mix of Ghettotech, Booty bass, and early Detroit Techno as well as live original compositions through it. Incorporating both a dense mix of sound to create extreme vibrations and slow compositions using live musicians, Bass Elegy/Devil’s Night (for M.K.) is an elegy to one of our city’s most influential and pioneering artists, Mike Kelley.

  • UGO RONDINONE, 'Primitive', The Common Guild, Glasgow


    08.09 - 17.11.2012

    'primitive' is the first exhibition in Scotland of the work of the remarkable Swiss artist Ugo Rondinone.

    Featuring a group of recent works in a new and precisely conceived installation, the exhibition includes a large group of bronze bird sculptures, filling the building with an almost threatening persistence. Imposing in number if not in scale, these modest little birds, so clearly and simply hand-made, are named after vast natural phenomena: from ‘the sun’ and ‘the moon’ to ‘the universe’ and ‘the atmosphere’ – referencing the natural world beyond the gallery.A

    Rondinone first came to international attention in the early 1990s with installations that involved a striking diversity of forms. His exhibitions might include India ink landscapes in the Romantic tradition, or mesmerising target paintings that recall the trance-inducing images of 1960s psychædelia. He combines works with an up-beat, pop sensibility with others that reflect a mood of longing and disconnection, from photographs of a man and a woman who never meet to melancholy images of clowns slumped on floors. His works often have a strong sense of time being suspended, and reflect on the conflict between reality and a world of mirrors, dreams and artifice.

    Exhibition open Tuesday – Saturday 12noon–5pm, until 7pm on Thursdays and Fridays, and by appointment.

    www.thecommonguild.org
  • KATJA STRUNZ @ 'The Imminence of Poetics', 30th BIENAL DE SAO PAULO, Brasil


    07.09 - 09.12.2012

    The 30th Bienal de São Paulo, The Imminence of Poetics, has no theme. The articulation of the ideas of imminence and poetics is, for us, the curators of the 30th, a “motif.” The difference between “theme” and “motif” is important: “theme” means content and thesis, while “motif” is a pretext, the point of departure for a series of questions and for the establishment of a discursive strategy. It is not our intention for the artists invited to “illustrate” or “represent” our motif. We merely want their works to resonate with the constellation of questions that may be deduced from such motif: how does contemporary art, and what is left of the legacy of modernity, “function” in a world of imminences, of happenings yet to occur, increasingly characterized by unpredictability? How does artistic practice respond with poetic, expressive, discursive, enunciative and vocal decisions? 

    www.bienal.org

  • IDA TURSIC & WILFRIED MILLE @ 'BEAUTIFUL PAINTING IS BEHIND US', UGM / Maribor Art Gallery, Slovenia


    02.08 - 09.09.2012

    Beautiful painting is behind us exhibited by the Maribor Art Gallery, is one of the exhibitions in the frame of the Art always wins project / Terminal 12 and has been supported by the Maribor 2012 – European Capital of Culture and the French Institute Charles Nodier. Thirty-six artists from France and Slovenia exhibit their most recent works, which are exceptional contemporary artistic confessions, a commentary and analysis of Man being trapped in the shackles of this complex world. The exhibition is about the power of contemporary painting which leaves no one cold and unaffected; it speaks about the generation of artists who have grown and formed themselves under the influence of television, computers, comics, film and the great classic treasure chest of art, and for whom the painting has remained a relevant medium.A Each with their own expressive language the artists bear witness to the violence of the modern world. Their return to figurative art reflects a brilliant and at the same time distressing picture of our time in which numerous references to history, painting and the world in general blend into an interpretation of reality and reveal an often visionary interpretation of our contemporary myths and society. In spite of the variety of stylistic languages used by individual artists, several features are common to their works, such as subliminally accentuated interpretations in the works by Axel Pahlavi, Youcef Korichi and Audrey Nervi, and the violently marked flow in the works by Jérôme Zonder, Damien Deroubaix, Ronan Barrot, Ida Tursic and Wilfried Mille.

    »When today a young painter /paintress stands in front of a canvas or any other medium used, this surface is never white, never entirely empty; a white canvas is only an appearance, yet never an emptiness. Through this surface the history of art pulsates, the images seen by young artists, reproductions and originals stored in their memory (even though they never think of them); through this surface an enormous arsenal of contemporary media imagery is moving, thousands of images that surround artists in their every-day life. It seems painters these days very rarely think in advance about the »form«, about its abstract idealism, purity, spirituality, metaphysics. Media image-making is realistic, semantically functional, focused on the message, while the appearance serves the content; in media there is on principle nothing abstract in the Kantian sense, nothing by itself, because of itself. As a result, contemporary painting is »realistic«, combining cartoon, film, photography and television fragments, and is just as performative as any external action; it contains elements of posters and media, music and video spots, it is full of sophisticated colours and polished surfaces. It is equally full of all that belongs to an urban visual dumpsite, the disintegration of used images and commercial messages: these messages have been present in another medium, and have now found their place in the painting as a fragment, an association, a metaphor, also as an error or enigma – to summarize, as a much more »open work« than allowed by the media communicative functionality. In a special way the paintings are dysfunctional, useless, private, but because of this they address the viewer with even more passion.« (Tomaž Brejc and Arne Brejc, from the exhibition catalogue).

    The exhibition was initiated by Jean-Luc Maslin, Cultural Counsellor and Director of the French Institute of Turkey. He suggested to Eva Hober, a gallerist from Paris, to curate an exhibition focused on contemporary French artists. Beautiful painting is behind us has already been on display in Istanbul (2010), Ankara (2011) and Nantes (spring of 2012).
    For the exhibition at the Maribor Art Gallery, Eva Hober decided to expand it with works by several Slovenian artists and she invited Arne Brejc for a collaboration. In 2013, a second version of the exhibition, with a new group of artists, will first be shown in Europe. Then, the show will be hosted by in USA, in 2014.

    artists: Ronan Barrot, Julien Beneyton, Romain Bernini, Katia Bourdarel, Alkis Boutlis, Andrej Brumen Čop, Damien Cadio, Nicolas Darrot, Damien Deroubaix, Tina Dobrajc, Gregory Forstner, Mito Gegič, Cristine Guinamand, Jaša, Barbara Jurkovšek, Youcef Korichi, Kosta Kulundzic, P. Nicolas Ledoux, Élodie Lesourd, Iris Levasseur, Marlène Mocquet, Audrey Nervi, Maël Nozahic, Florence Obrecht, Axel Pahlavi, Mark Požlep, Raphaëlle Ricol, Lionel Sabatté, Miha Štrukelj, Iva Tratnik, Ida Tursic in Wilfried Mille, Luka Uršič - Kalu, Sanja Vatić, Uroš Weinberger, Jérôme Zonder

    www.ugm.si

  • Matthias Bitzer, Gregor Hildebrandt @ Galerie Utopia / The Forgotten Bar Project : The Garden of Eden


    28.09 - 19.11.2012

    Initiée en 2007 par l’artiste Tjorg Douglas Beer, la GALERIE UTOPIA consiste en un ensemble de projets et expositions se développant et voyageant à travers le monde, de New York à Athènes en passant par Londres. En 2008 ouvre au sein de ces projets le FORGOTTEN BAR, un espace indépendant à Berlin accueillant chaque soir une exposition. Original, non consensuel, perturbateur et éclectique, cet espace où « tout ou presque est permis » propose de repenser les règles de l’exposition en invitant le visiteur à prendre part à l’expérience artistique et en imaginant l’art comme un échange, une aventure humaine. A l’image de projets tels que The Shop de Tracey Emin et Sarah Lucas à Londres, ou Food de Gordon Matta Clark à New York, le FORGOTTEN BAR PROJECT est un lieu vivant, en mutation permanente, une zone dédiée à l’énergie artistique et imaginé par et pour les artistes – dont la vitalité est invitée à investir le Palais de Tokyo.

    « L’exposition au Palais de Tokyo sera certainement un étonnant paysage d’oeuvres dans la forêt de colonnes du sous-sol. Il ne s’agit pas de regarder en arrière, mais en avant, vers cet idéal, en ignorant ce qui est mauvais autour de nous ; non pas d’aller vers l’apocalypse mais vers le paradis. Nous ne pouvons pas nous permettre de perdre du temps à faire des choses dévastatrices. Au contraire, les idéaux doivent s’élever en temps de guerre, de désespoir et de dépression économique, et nous devrions nous efforcer de faire du monde un Jardin d’Eden. Ou bien renoncer. Je l’ai déjà dit, je pense que nous devrions fermer toutes les galeries, les musées et les bars pour aller élever partout des chèvres et des moutons. » 

    Tjorg Douglas Beer

    LE JARDIN D’EDEN 

    Dans le Palais de Tokyo, la GALERIE UTOPIA / THE FORGOTTEN BAR PROJECT déploie, au coeur d’une forêt de colonnes, son installation The Garden of Eden (Le Jardin d’Eden). Paysage utopique, cette exposition est composée de plus d’une cinquantaine d’oeuvres d’artistes internationaux, enrichie par plus d’une centaine d’artistes ainsi que de commissaires invités par Tjorg Douglas Beer. Membres à part entière du projet, les visiteurs sont conviés à investir les espaces, à s’y asseoir, à prendre un verre, à rejoindre le dance floor. Un programme d’expositions, performances, et conférences suivies d’un dj set jusqu’à minuit animent le lieu chaque soir.

    https://palaisdetokyo.com

  • Matthias Bitzer, Gregor Hildebrandt @ 'Bitzer Dahlem Hildebrandt', Philara, Dusseldorf, Germany


    08.09 - 21.10.2012

    Opening 06.09.2012, 7-10pm
    www.philara.de

  • Haim Steinbach @ The Artist Institute, New York


    31.08.2012 - 27.01.2013

    Centered around the ongoing discussions of a graduate seminar at Hunter College in New York, this gallery space situated on the Lower East Side devotes each season to the study and exhibition of a single artist. Every six months, the Institute presents a small selection of works by a single artist, using an open curatorial model designed to nurture and develop inquiry and the exchange of knowledge and ideas.A

    This learning and research-based Institute invites other artists, writers, performers, filmmakers and thinkers from all over the world to discover and consider the work of a specific artist and to look at the broader context of contemporary art through the lens of this artist’s work.

    Opening:
    September 9th, 6-8pm
    www.theartistsinstitute.org

  • Tektonika: Barbara Kasten & Magicgruppe Kulturobjekt, Kunstverein Nürnberg, Germany


    07.07 - 07.10.2012

    Opening on Friday, 6 July 2012 at 6.30 pm
    Talk by Barbara Kasten (in English): Tuesday, 4 July 2012, 5 pm At The Academy of Fine Arts Nuremberg (Bingstraße 60)

    The “Realistic Manifesto” by Antoine Pevsner and Naum Gabo was written in 1920. The term Tektonika refers here to a dynamic, abstract geometrical and ideal formal language. It also refers to a dynamic energy that moves tectonic plates, reverses the concept of above and below and disrupts datum points.A

    The exhibition Tektonika picks up these ideas and showcases two artistic positions – Barbara Kasten and the Magicgruppe Kulturobjekt – that revolve around the tension between instability and stability, between the whole and its fragmentation. At what point can a form or a space be defined? At what point can one differentiate a form or a space? At what point can the eye no longer see a space? It is possible to see this ambivalence between construction and deconstruction that demands a different interpretation of space both in Barbara Kasten’s photography and the installation and working processes of the artist collective Magicgruppe Kulturobjekt.

    After her first experiments with light and shade which can be seen in her photograms and cyanoypes from the 1970s, Barbara Kasten (b.1936 lives and works in Chicago) has developed an extended and more complex dimension of the perception of space in her series Constructs (1979-83), which is being shown at the Kunstverein. The artist has staged a series of sets for this out of a combination of simple forms and materials, such as glass, Plexiglas, metal or mirrors, and then photographed them. The resulting spatial settings comprising geometrical forms, broken light, the texture of the materials, shifts in perspective, permeability or reflections, allow the viewer’s eye to oscillate between graphic surfaces, geometrical composition and three-dimensional perspective.

    She has also continued to work upon the shifting of viewpoint and the change of perspective in the works from Architectural Sites (1986-89) directly in public space: with the help of a team, she has broken up, i.e. deconstructed the architecture in various chosen places through the inclusion of mirrors and the use of coloured light projections. The space that one thinks one recognises is thus completely dematerialised; the images move here between image, object and plane.

    Similarly, the Magicgruppe Kulturobjekt also opposes an unequivocal stability in their very working method. Depending upon respective planned project, they work with a different number and combination of artists. Artists taking participating in the Kunstverein show: Nadja Athanassowa, Michael Dobrindt, Sonja Engelhardt, Marie Gerlach, Markus Hahn, Stef Heidhues, Marcel Hiller, Roland Kollnitz, Tamara Lorenz and Sebastian Walther.

    The Magicgruppe Kulturobjekt develops its work on site and in a direct reaction to the spaces and the artists in the group themselves. Therefore the staging does not derive from a prearranged concept, or planable arrangement and duly expresses itself as a collective construct, the shape of which takes on a spatial temporary form. Diverse materials are staged in new ways on site. The properties, arrangement and accumulation of the material are choreographed to a point where distortions and visual interleaving subvert conditioned assumptions of space. The resulting spatial narrative leads to a sculptural course around the exhibition in which different visual games and suggested dynamic processes can be discovered.

    Both the constructed settings in the work of Barbara Kasten and the experimental deconstructive installations of Magicgruppe confuse our perception of the shapes and the functions of objects and spaces: architecture, surfaces and materiality seem to dissolve into one another and transform themselves into a idiosyncratic, constructive, palpable form. 

    www.kunstvereinnuernberg.de

  • JAMES TURRELL @ 'Marcher dans la lumière', Musée Régional d'Art Contemporain, Sérignan, France


    01.07 - 28.10.2012

    L’exposition « Marcher dans la couleur », présentée durant l’été 2012 au Musée régional d’art contemporain Languedoc-Roussillon à Sérignan, réunit plusieurs artistes de premier plan qui proposent une expérience de la couleur dans l'espace. Ce projet d’exposition emprunte son titre à l’essai « L’homme qui marchait dans la couleur » de Georges Didi-Huberman sur le travail de James Turrell. Ce texte prend la forme d’une fable qui nous promène au cœur du travail de cet artiste inventeur de lieux. Le genre de lieux qu’invente James Turrell passe par un travail avec la lumière. Il est un sculpteur qui donne masse et consistance à ces choses dites immatérielles que sont la couleur, l’espacement ou la limite.A L’exposition « Marcher dans la couleur » propose au spectateur de parcourir des œuvres comme des lieux d’expériences sensorielles.

    Au centre de l’exposition, une installation lumineuse de James Turrell, Red Eye de 1992, est réactualisée spécialement pour l’exposition. Le spectateur pénètre un cube blanc pour faire l’expérience de l’immatérialité dans l’obscurité d’un espace d’où se détache un rectangle coloré. Cet environnement perceptuel sollicite nos sens et trouble notre rapport avec la réalité physique.

    Daniel Buren, Ann Veronica Janssens, Mai-Thu Perret, Veit Stratmann, James Turrell, Felice Varini, Jessica Warboys

    Commissariat : Hélène Audiffren

    http://mrac.languedocroussillon.fr