• 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.
  • 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?


    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

  • 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


    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.

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

    08.09 - 21.10.2012

    Opening 06.09.2012, 7-10pm

  • 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.

    September 9th, 6-8pm

  • 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.

  • 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


    20.06 - 23.09.2012

    This summer, the Schirn Kunsthalle and the Liebieghaus Skulpturensammlung will be devoting themselves to the work of the U.S. American artist Jeff Koons (born in 1955), who has played a pioneering role in the contemporary art world since the 1980s. The two concurrent shows will deliberately separate the sculptural and painterly aspects of his oeuvre and present each in a context of its own. Encompassing forty-five paintings, the presentation entitled "Jeff Koons.A The Painter” at the Schirn focuses on the artist’s structural development as a painter. With motifs drawn from a diverse range of high and pop-cultural sources, his monumental painted works combine hyper-realistic and gestural elements to form complexes as compact in imagery as they are in content. In the show "Jeff Koons. The Sculptor” at the Liebieghaus, on the other hand, forty-four world-famous as well as entirely new sculptures by Jeff Koons enter into dialogues with the historical building and a sculpture collection spanning five millennia. Jeff Koons’s Antiquity, a new series in which he explores antique art and its central motif – Eros – will debut in Frankfurt on this occasion.

    In his paintings and sculptures, Jeff Koons employs elements from the consumer world and "high culture” alike, quotes artistic epochs as readily as he does objects from everyday life and advertising, and thus draws our attention again and again to such categories as beauty and desirability. Within this context, he has become an unequalled master of the interplay between the sublime and the banal. Although his works quote familiar motifs from the consumer context, it is not for the sake of kitsch and irony. In an interview he commented: "I work with things that are sometimes referred to as kitsch, even if kitsch per se has never interested me. I always try to convey self-confidence, a certain inner sense of security, to the viewer. My chief concern in my work is the viewer.” Koons is interested "not in the complexity, but in the simplicity of being” and its acceptance. This aspect finds expression in his oeuvre in elementary themes such as childhood or sexuality. Contrary to the long tradition of subjectivity in art, however, Koons constantly emphasizes artistic objectivity, working in the tradition of the "ready-made.” Both his sculptures and his paintings have a particularly evocative and striking effect on the viewer through their exquisite craftsmanship and the lure of their surfaces.

    Curators: Vinzenz Brinkmann (Liebieghaus Skulpturensammlung), Matthias Ulrich (Schirn Kunsthalle Frankfurt), and Joachim Pissarro (New York)


    20.06 - 23.09.2012

    n the summer of 2012, the SCHIRN and the Liebieghaus Skulpturensammlung turn their attention to the work of American artist Jeff Koons (born in 1955), an artist who has been setting trends in the art world since the 1980s. The two simultaneous exhibitions dedicated to Koons’s oeuvre deliberately separate his sculpture and painting, presenting each in its own context.A The SCHIRN presentation JEFF KOONS. THE PAINTER will focus on Koons’s structural development as a painter. In his monumental paintings—whose motifs draw upon the most varied sources of high and popular culture—both hyperrealistic and gestural features give rise to highly complex concentrations of image and content. By contrast, in the exhibition JEFF KOONS. THE SCULPTOR at the Liebieghaus, both world-renowned and new sculptural works by Koons will enter into a dialogue with the historic building and its collection spanning 5,000 years of sculpture.

    Curators: Vinzenz Brinkmann (Liebieghaus Skulpturensammlung), Matthias Ulrich (Schirn Kunsthalle Frankfurt), and Joachim Pissarro (New York)