• The Hague Under the Heaven


    Liu Wei’s multi-faceted oeuvre is a quick-witted commentary to the contemporary society and culture he observes around him.

    The frenetic vibe, intemperate zeal and endless transition of today’s China are all reflected in his art. ChinaIV (2010), on show here, is a variable installation made from porcelain household ware, a tree trunk, cement, iron and netting.

    Its vertical structure evokes another image of a high rise construction site; the arrangement of the separate parts compares how children would build with toy blocks.

    Liu Wei uses existing everyday material, playing with imagination and perception, thus luring the audience in a site of evocative nature touching issues of our immediate surrounding reality.

  • Taryn Simon @ The Danish Pavilion

    54th International Art Exhibition / Biennale di Venezia

    Professional Preview Opening:
    Thursday, 2 June 2011, at 15:30
    Duration of exhibition 4 June–27 November 2011


    For the 54th Venice Biennale, the Danish Pavilion will host an international group exhibition, curated by Katerina Gregos, which will explore the very timely and complex issue of freedom of speech. The question of freedom of speech is one that is being increasingly contested in light of transformations taking place globally, both in authoritarian regimes and in liberal democracies, where civil liberties seem to be increasingly under threat. Apart from the fact that it relates to Denmark specifically, it is also highly relevant in relation to much of what is happening in many countries in the world today, from: press intimidation and censorship in Russia and elsewhere; to Google's recent episode in China; current events in North Africa; changes to media law in Hungary; the WikiLeaks scandal; and other factors such as increased surveillance in the UK and the USA, and highly charged debates about the limits of freedom of speech in several European countries, such as the Netherlands. The notions of freedom of speech and freedom of expression also impact upon, and are interrelated with, other areas such as the freedom of the press, censorship and self-censorship, the internet, copyright, intellectual property, the privatisation of knowledge, protest and public order, public space, judicial and legal questions, pornography, sexual orientation, lifestyle preferences, and human rights issues in general. It is important to point out that the understanding of 'freedom of speech,' in this context is not only in relation to the spoken word per se but also to inextricably interrelated issues of freedom of artistic expression. The exhibition in the Danish Pavilion aims to complicate the issue of freedom of speech, which seems, increasingly, to be used as an empty political slogan that is subjected to a very simplified, biased and populist debate. Denmark has a longstanding reputation of freedom of speech and freedom of press. It has always been at the forefront of the public debate on a number of progressive issues in relation to freedom of speech; but it has also suffered the so-called 'trauma of free speech,' making it even more appropriate to use the Danish Pavilion as a springboard from which to discuss these issues.

    SPEECH MATTERS features 18 international artists of different generations from 12 countries. 13 new installations and works have been commissioned specially for the exhibition

    Participating artists: Agency (International, est. 1992) – Ayreen Anastas & Rene Gabri (Palestine & Iran) – Robert Crumb (USA, 1943) – Stelios Faitakis (Greece, 1976) – FOS (Denmark, 1971) – Sharon Hayes (USA, 1970) – Han Hoogerbrugge (the Netherlands, 1963) – Mikhail Karikis (Greece, 1975) – Thomas Kilpper (Germany, 1956) – Runo Lagomarsino (Argentina/Sweden, 1977) – Tala Madani (Iran, 1981) – Wendelien van Oldenborgh (the Netherlands, 1962) – Lilibeth Cuenca Rasmussen (Denmark, 1970) – Taryn Simon (USA, 1975) – Jan Švankmajer (Czech Republic, 1934) – Johannes af Tavsheden – Tilman Wendland (Germany, 1969) – Zhang Dali (China, 1963).

    Curator: Katerina Gregos

  • John Giorno @ The Bauer Hotel / Venice

    June 2 - June 23, 2011

    The Bauer, Campo San Moise

    San Marco 1459, Venice, Italy

    June 2- June 23, 2011

    Curated by David Dorrell

    The exhibition will open with a performance by John Giorno
    at 10 pm (June 2nd) in the Ballroom of the Bauer Hotel

    In 1968, John Giorno created Dial-A-Poem innovating
    the use of the telephone as a tool of mass communication.
    Dial-A-Poem’s enormous success at reaching a mass
    audience via millions of calls to the hotline, gave rise to
    Dial-A something industry; from Dial-A-Joke and Dial
    Sports to phone sex and 900 numbers. Dial-A-Poem
    ushered in a new era in telecommunications.
    In Star 69: Dial-A-Poem-Relics, WhiteNoise brings
    together both physical elements of Giorno’s Dial-A-Poem
    Actions, including artifacts used during its notorious
    inclusion in the landmark ‘Information’ exhibition at
    MOMA New York in 1970, and audio recordings of works
    by Giorno, William Burroughs and Patti Smith recorded
    for Giorno Poetry Systems.
    As an artist and innovator John Giorno has challenged
    artistic orthodoxy at every turn and his early attempts
    at ‘sampling’ with synthesizer pioneer Robert Moog and
    experimental ‘cut-ups’ (a result of time spent with Brian
    Gysin and William Burroughs) helped break new ground
    in poetry and performance. His willingness to experiment
    presents us, the audience, with a cultural origami of sorts:
    Buddhism, networks and systems, Queer Politics, AIDS
    activism, non-profit business, art and technology – all
    have been folded by Giorno into a praxis that revolts
    against the prevailing nihilistic trend in modernism and
    Post-modernism. John Giorno is an early practitioner of
    what the artist Matthew Stone calls, ‘optimism as cultural
    The Victorian writer, William Hazlitt, called poetry:
    “the universal language which the heart holds with nature
    and itself.” Giorno has both become this language and
    evolved it. As he noted in a 2002 interview with Hans
    Ulrich Obrist: “It occurred to me that poetry was seventyfive
    years behind painting and sculpture and dance and
    music.” Somewhere along this shining path, John Giorno –
    our last warrior-poet – closed the gap.

  • Franz West Golden Lions for Lifetime Achievement

    54th Edition Venice Biennial / ILLUMInations (Venice, Giardini and Arsenale, June 4th - November 27th, 2011).

    Sturtevant and Franz West will be the recipients of the Golden Lions for Lifetime Achievement of the 54th International Art Exhibition

    The decision, made by the Board of la Biennale di Venezia, chaired by Paolo Baratta, under director Bice Curiger’s proposal, finds its motivation in “the uniqueness of their topical contribution to Contemporary Art and for having developed a forceful and rich oeuvre, which invites to see the artistic production in connection with other intellectual discourses”.

    The award will be officially presented to the two artists on June 4th, 2011, at noon during the opening and award ceremony of the exhibition.

  • Biennale di Venezia 2011

    54th International Art Exhibition: ILLUMInazioni - ILLUMInations

    Almine Rech Gallery is pleased to anounce the participation of  JAMES TURRELL & FRANZ WEST at the 54th International Art Exhibition - ILLUMInations as part of the Venice Biennale.

    Location: Venice (Giardini and Arsenale)

    Dates:  June 4th – November 27th, 2011
    Preview: June 1st, 2nd and 3rd, 2011

    More informations:

  • THE MEDITERRANEAN APPROACH - 54th Edition Venice Biennial

    Palazzo Zenobio, Venise / 01.06.11 - 08.08.11 / Vernissage le 03.06.11

    La galerie Almine Rech et Art For the World sont heureux de vous convier à l'exposition "The Mediterranean Approach" qui se déroulera du 1er juin au 8 août 2011, à l’occasion de la 54ème édition de la Biennale de Venise, au Palazzo Zenobio à Venise.

    Le vernissage aura lieu le jeudi 3 juin 2011, de 19h à 22h.

    Proposée par Adelina von Fürstenberg (présidente dʼART for The World), et Thierry  Ollat (co-directeur du Musée dʼArt Contemporain de Marseille), lʼexposition accueille les œuvres dʼartistes originaires de la région Meditérranéenne, ou y œuvrant :  Ghada Amer (Egypte), Ziad Antar (Liban), Faouzi Bensaïdi (Maroc), Marie Bovo (Espagne), David Casini (Italie), Hüseyin Karabey (Turquie), Ange Leccia (France), Adrian Paci (Albanie), Maria Papadimitriou (Grèce), Khalil Rabah (Palestine),  Zineb  Sedira (Algérie), Gal Weinstein (Israël), Peter Wüthrich (Suisse).

    "La Méditerranée est bien plus quʼune expression géographique. Cadre vivant de références à un ensemble de modèles complexes, carrefour à la fois de peuples et de cultures, elle est le lieu de la naissance de grandes civilisations et la porte ouverte entre  lʼOccident et lʼOrient. A travers le regard des artistes participants, lʼexposition sʼattache à mettre en lumière les différences, tout comme les similitudes, qui tissent les identités profondes des peuples méditerranéens."


    Art for the World: Laura Revelli Beaumont - / +33 (0)6 70 21 29 40

    Almine Rech Gallery: Camille Blumberg - / +33 (0)1 45 83 71 90


  • Almine Rech Gallery @ Art Brussels

    Thu 28 April - Sun 1 may 2011


    Brussels Expo, halls 1 & 3
    Place de Belgique, 1 / BE- 1020 Brussels
    Brussels Ring Road 0 - exit 7 bis or 8 - map available on website
    Metro line 6 (direction Roi Baudouin) - Heysel

    Preview: Wednesday 27 April 2011, noon - 4pm
    (invitation only)
    Vernissage : Wednesday 27 April 2011, 4-10 pm
    (invitation only)
    Fair: Thursday 28 April- Sunday 1 May 2011

    Booth - Almine Rech Gallery

    Info -

  • Damien Cadio

    'D'après la ruine' - Centre Culturel de Vilnius, Lituanie

    15.04.11 - 05.07.11

    Le Centre culturel de Vilnius (Vilniaus Kultūros Centras) accueille « D’après la ruine », une exposition mise en scène par le commissaire Renaud Serraz.

    Douze artistes figuratifs français sont présentés : Céline Berger, Romain Bernini, Damien Cadio, Eric Corne, Damien Deroubaix, Marc Desgrandchamps, Iris Levasseur, Bruno Perramant, Nazanin Pouyandeh, Florence Reymond, Duncan Wylie et Katharina Ziemke.


    ATELIER HERMÈS, SEOUL, APRIL 29, 2011 TO JULY 17, 2011

    With the support of Fondation d'entreprise Hermès, Atelier Hermès (3rd Floor, Maison Hermès Dosan Park) presents Isaac Julien's solo exhibition, Ten Thousand Waves, from April 29th to July 17th.

    Ten Thousand Waves, the first exhibition of Atelier Hermès' 2011 programme, is also Isaac Julien's first solo exhibition in Korea. Julien, a world-renowned British artist, has mainly worked in film and video, and has already opened up a new dimension in video installation. Some of his work has been seen in Korea in recent years: Baltimore at the Busan Biennale 2004 and Western Union: Small Boats at the Gwangju Biennale 2008.

    Julien's new 3-channel video installation Ten Thousand Waves is based on the 55-minute film of the same title that the artist worked on for four years. While it was presented as a 9-channel video installation at its world premiere at the Sydney Biennale 2010 as well as at exhibitions in Shanghai, Miami, and London, for this occasion the work has been specially rearranged as a three-screen version, to accommodate the specific space of Atelier Hermès. Mostly shot in China, Ten Thousand Waves is an artist's film that features well-known actresses such as Maggie Cheung and Zhao Tao, the impressive heroine in Jia Zhangke's 24 City. The young video artist Yang Fudong, the poet Wang Ping, and the venerable Chinese calligrapher Gong Fagen also appear on screen. In particular, Wang traveled between London and China, establishing a dialogue with Julien from the preparatory stage and created poems that are featured as voice-overs in the film.

    The brief storyline of Ten Thousand Waves has three layers. The first is a Chinese legend about the goddess Mazu (1) (played by Maggie Cheung) who has a special power to guide shipwrecked sailors safely to shore. Here Julien transposes the goddess into contemporary China, where Mazu bends space and time, flying between the buzzing rush hour of Shanghai and a landscape with a calm bamboo forest and stony mountains. The second layer concerns an accident that happened recently to a group of 23 Chinese illegal immigrant workers who were gathering cockles at the seashore in England in the spring of 2005. Unaware of the seasonal high tide, they were suddenly swept away to their deaths; even their guardian Mazu was unable to save them. The third layer is based on the specific situation of early twentieth-century Shanghai, when the city was dominated by Western powers. During this time, the 1930s, Shanghai flourished as a center of the film industry. The Goddess (1934), which was produced during this period, portrays the tragic life of a woman who had no choice but to prostitute herself in order to make a living to support her children. Julien remakes the film (in which Zhao Tao plays its heroine) to evoke the atmosphere of Shanghai in the 1930s. As these three layers interweave, Ten Thousand Waves crosses the boundaries of past and present, fiction and reality, and feature film and documentary.

    Scrupulously, like a surgeon wielding a scalpel, Julien dissects the film's sequences, scenes, and shots to synthesize them as a contemporary art installation of great complexity. The background sound, meticulously inserted not only as the main narration but also as additional explanation or monologue, enriches the enthralling video installation. The narrative structure intermingling Chinese culture and history as well as modern catastrophes is in keeping with Isaac's life-long subject matter. Immigrant workers rooted in post-colonialism and economic globalization were featured in his earlier work Western Union. Deliberately connecting aesthetic, social, and psychological dimensions, Julien's video installation invites the audience to experience a corporeal perception similar to floating. As viewers drift through the video projection space they confront the grave question of Western-centric cultural globalization.

    In addition to the video installation work this exhibition includes four large-format photographic works derived from the film: Hotel, Maiden of Silence, Red Chamber Room, and Mazu Turning.

    (1) Mazu(媽祖/天后) is a goddess of the sea traditionally worshiped in the coastal provinces of southern and central China as well as in Chinese Taipei.

    Atelier Hermès

    3rd Floor, Maison Hermès Dosan Park

    630-26 Shinsa-dong, Gangnam-gu

    Seoul, Korea

  • Recontre - Lecture avec Ange Leccia et Jean-Philippe Toussaint

    Villa Médicis, Rome, Italie

    Jeudi 21 avril 2011 - Grand Salon

    Extraits de film alternés avec des moments de lecture. Dans le cadre du cycle de lectures. La Villa Médicis vous invite, ce printemps, à des rencontres - lectures mensuelles avec un écrivain, français ou étranger, à vous laisser envoûter par le pouvoir des mots et par des projections d'images qui accompagneront les phrases, dessinant ainsi une large définition de la littérature.