Giovanni Anselmo
Dove le stelle si avvicinano di una spanna in più
Where the stars are coming one span closer
Opening:
on Thursday, June 9, 2022 at 12.30
The sculpture, permanently exhibited in the center of the Grand Parterre of the Gardens of La Reggia di Venaria, will be officially inaugurated on June 9, 2022.
Giovanni Anselmo, installationview, 01. May 2015 - 01. Aug 2015, KFG Berlin, courtesy Konrad Fischer Galerie
Tony Cragg
at La Reggia di Venaria
Opening:
on Thursday, June 9, 2022 at 12.30
Tony Cragg, Stack, 2018, patinated bronze, 90.00 x 38.00 x 50.00 cm, courtesy Konrad Fischer Galerie
Christina Iglesias
LANDSCAPE AND MEMORY
at Madison Square Park, NYC
Cristina Iglesias will unearth the forgotten terrains and geographic history of Madison Square Park in Landscape and Memory, a newly-commissioned public art installation and her first major temporary public art project in the United States. Landscape and Memory will place five bronze sculptural pools, each with intricately patterned bas reliefs that feature water gently flowing and arriving in different sequences, into the park’s Oval Lawn. These sculptural works harken back to when the Cedar Creek—now buried underground—coursed across the land where the park stands today. Building on Iglesias’ practice of unearthing the forgotten and excavating natural history, Landscape and Memory resurfaces in the imaginations of contemporary viewers the now-invisible force of this ancient waterway. The installation will be on view from 1 June through 4 December 2022.
This new commission will be launched with a symposium, Unearthing Public Art, at the SVA Theatre in New York on 3 June 2022. Informed by the themes in Iglesias’ work, this symposium will be a multidisciplinary forum for participants to exchange their ideas on working in the public the realm.
Cristina Iglesias, Landscape and Memory, 2022, (detail) installation in Madison Square Park, Photo credit: Rashmi Gill
Thomas Ruff
Metaphotography
14 May - 28 August 2022
The MAMC+ is presenting the first exhibition in a French museum by Thomas Ruff.
This retrospective gaze concerning over forty years of his career aims to reveal the way in which the artist tirelessly questions the photographic medium itself, developing a “meta-photography”. Through a selection of seventeen series, including one as yet unseen (Bonfils, 2022) the visit of around one hundred artworks restores a chronology of the various types of imagery and technical processes that he investigates, thus implicitly retracing a history of photography.
Thomas Ruff started his series of Interiors and Portraits in the 1980s, when he was still a student of Bernd Becher at the fine arts academy Kunstakademie, in Düsseldorf. Although these artworks became emblematic of his work, he nevertheless explored many other approaches to photography, choosing from the 1990s to use only pre-existing images, which he manipulates. The titles of his serial experiments illustrate the continually renewed diversity of his subjects, which the exhibition reflects: Stars, Press Photographs, Nights, Nudes, Portraits, ma.r.s, Photograms, Flowers, Chinese Paintings, and so on.
Photo : A. Mole / MAMC+
Sail/Canvas – Canvas/Sail (Voile/Toile – Toile/Voile)
21 May - 22 May 2022
You are cordially invited to experience Daniel Buren’s two-part public artwork Sail/Canvas – Canvas/Sail (Voile/Toile – Toile/Voile) in Espoo’s Nuottaniemi Bay. In the event, Buren’s famous stripes will appear on the Optimists’ sails in a regatta organized in collaboration with the Espoo Pursiseura Yacht Club EPS. After the race, the sails will be displayed at EMMA until the end of the exhibition.
The regatta will take place on May 21 or May 22 at 2pm, weather permitted. The date will be updated on EMMA’s website closer to the date. No advance registration required.
Photo: Daniel Buren, Voile/Toile-Toile-Voile, work in situ, 1975-2005, regatta on Lake Grasmere, Grasmere, 2005. Detail. © DB-ADAGP Paris.
Paloma Varga Weisz
The Searchers
at HDTS 2022
9 April – 22 May 2022
HDTS 2022 emerges from a heavy felt shift in both culture-at-large and our local desert communities. Its title The Searchers shines light on the “regenerative ruin,” a concept that follows 21st century human intervention in our desert region. As a historically nomadic environment, the desert has played host to waves of different existences—transitory settlements, sanctuaries, and living experiments. This particular desert, at the bottom of the dense Mojave, occupies a fringe space between the western apexes of Los Angeles and Las Vegas where these experiments flourish. Its uniqueness lies in the many ungoverned moments, layered visions, and transposed uses of space that comprise a landscape full of attempted solutions to the basic question of “How to live?”
FOREIGN BODY
Part of Southern California’s architectural legacy lies in buildings whose form literally illustrates their function – lunch stands in the shape of hot dogs, coffee shops constructed as doughnuts, keyboard shaped piano bars. Weisz revives this tradition with a gigantic female figure. Sitting atop its structure, this monumental yet melancholy nude has been pierced by a tree. She emblematizes nature and its slow mutilation by humans.
© Paloma Varga Weisz
Alice Channer
The Searchers
at HDTS 2022
9 April – 22 May 2022
Rockpool
An 8-inch-tall, 60-foot-long salt-filled sculpture intricately curved from steel takes its
h o r i z o n t a l form from satellite images of the 2010 British Petroleum Deepwater Horizon oil spill. This abstracted shape is s t r e t c h e d across the expansive California desert where sparkling salt crusts left by an ancient extinct ocean are extracted en masse, including for the fracking industry.
© Alice Channer
The window, the membrane between inside and outside, becomes sculpture: from March to November 2022, the Waldfrieden Sculpture Park presents a series of three consecutive exhibitions in which, for the first time, the architecture of an exhibition hall becomes the artistic point of departure.
Daniel Buren, Tatsuo Miyajima and Bettina Pousttchi will realise a new work for the glass façade of the exhibition hall in the lower park area for three months at a time.
The viewers reach the hall from the higher park area via a slightly sloping footpath. The initial view of the hall and the artwork gives way to an under-view as soon as one stands in front of the hall.
Each work is applied directly to the large window front of the main façade and visually and conceptually connects the outside space, the park, with the inside space of the hall. The window itself thus becomes the object. The interplay between the outside and the inside, the changing light conditions in the change of day and seasons and the shadow drawings on the hall floor and walls, create a multi-layered associative image. The hall remains deliberately empty for each exhibition for further objects.
The three artists from three generations each stand for an independent artistic oeuvre that has been internationally recognised for many years. In the Waldfrieden Sculpture Park, they are brought together for the first time in the context of this exhibition series.
Photo-souvenir: Daniel Buren, 2022, detail. © Photo: Michael Richter
TONY CRAGG
NEW WORKS
at Skulpturenpark Waldfrieden
Tony Cragg's artistic work unfolds in a restless process of exploring the possibilities of material and reshaping the world around us. His aphorism that "there are many more things that do not exist than do exist" points to a wellspring of things and forms that are still beyond our perception. For Cragg, sculpture is a method of tapping into this enormous potential of new forms and their associated meanings, dreams and languages.
© VG Bild-Kunst, Bonn; Foto: Michael Richter
Wolfgang Laib. Crossing the River
at Bündner Kunstmuseum
19 March – 31 July 2022
Wolfgang Laib (*1950) is considered to be one of the most important artists of today. His work is characterised by a profound relationship with nature and a declared belief in simplicity. At the same time eastern philosophies from India have shaped his life and his artistic practice since the 1970s. Until today the artist concentrates on just a few cyclical groups of work.
Ever since his journeys to India as a young man the idea inspired him to see humans as part of a largerwhole. He also follows this way of life in his art. Thereby the artist tracks down the universal, the eternal and works with natural materials such as pollen, rice, milk or bees wax. However, he also finds this holistic understanding in our culture. In the juxtaposition between a small mound of colour-intensive pollen and a eucharist casket Wolfgang Laib creates an astonishing relationship. The presentation is in a laid-out field of thousands of rice mounds. As an important foodstuff rice symbolises vitality and is fundamental for our earthly existence. With the temporary installation the artist manifests the spiritual dimension of art and leads us directly to the source of his poetics.
Accompanying the exhibition is a richly illustrated publication by Lars Müller Publishers with text contributions and installation views.
Images: Wolfgang Laib, Crossing the River, 2022 © Wolfgang Laib
DANIEL BUREN
Going for a Walk in a Zigzag
EMMA | Espoo Museum of Modern Art, Finland
02 March – 17 July 2022
For EMMA, Daniel Buren has created an enormous new work Les Paravents consisting of countless folding screens, inviting visitors to take a walk through the zigzagging maze. In this site‑specific piece, the screens embody Buren’s signature themes of impermanence and mutability.
The exhibition will also spill outside the walls of the museum with a line‑up of open‑air events and interventions.
For a week, Buren’s signature vertical stripes enlives Helsinki’s and Espoo’s winter landscape on over 300 JCDecaux billboards across the two cities.
Also featured is Ployer/Déployer, an open‑air piece of 105 striped flags to fill Espoo’s Tapionaukio square in May.
Buren’s famous stripes will additionally appear on the sails of optimist dinghies competing in a regatta on Nuottaniemi Bay in a piece called Voile/Toile ‑ Toile/Voile [Sail/Canvas – Canvas/Sail], organised in collaboration with the Espoo Pursiseura Yacht Club EPS.
Finally, striped vests will transform the museum’s customer service personnel into a living part of a work called Vests (Essai hétéroclite : Les Gilets, travail situé), throughout the duration of the exhibition.
The exhibition is curated by Arja Miller in collaboration with the Director of the Danish art agency Creator Projects, Simon Friese.
© Daniel Buren, Adagp, Paris, 2022. Photo. Ari Karttunen
TONY CRAGG
MADE ON EARTH
The Herning Museum of Contemporary Art (HEART), Denmark
26.02.2022 - 22.08.2022
HEART presents the first retrospective exhibition in Denmark featuring works by the pre-eminent British sculptor Tony Cragg. The exhibition spans Cragg's entire oeuvre from his 1970s black-and-white photographs and rough sculptures made of garbage over the colourful 1980s works that gave him his breakthrough to the virtuoso sculptures created in recent years.
photo: © Tony Cragg, courtesy HEART Museum
Photographs by August Sander and Bernd & Hilla Becher
Kunstarchiv Kaiserwerth
15.01.22 - 29.05.22
Sifting through the archives of both August Sander and Bernd and Hilla Becher continues to reveal new perspectives on their photographic work. Thus, the exhibition dedicated to the two positions juxtaposes two previously largely unknown circles of motifs. On the one hand, there are more than 50 black-and-white photographs by August Sander, primarily from the 1930s, of water castles steeped in history, industrial plants, and views of towns (including Düsseldorf), for example, which paint a multifaceted portrait of the cultural landscape of the Lower Rhine. On the other hand, equally black-and-white, large-format views by Bernd and Hilla Becher, taken in the Rhine harbor in Düsseldorf and surrounding industrial areas, prove to be a discovery. Between 1978 and 1990, they had documented historic warehouses and functional buildings there in the matter-of-fact style typical of their work.
photo: © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Köln; VG Bild-Kunst, Bonn, 2021.
The KunstBüdchen shows under the title "Hans-Peter Feldmann. Kunstausstellung" four finely coordinated works of the artist from the subject area of women.
The Kunstbüdchen is a small exhibition space in a former kiosk, designed as a showcase, open to public view at any time. Small mechanical toys and the "Voyeur" in its last edition can be purchased through the integrated vending machine.
The exhibition was created in collaboration with Konrad Fischer Galerie and Gregor Jansen, Kunsthalle Düsseldorf, and can be seen until April 29, 2022.
KunstBüdchen | Speestr. 43a | 40885 Ratingen
www.kunstbuedchen.online
photo: Max Tünkers | Courtesy Konrad Fischer Galerie
Minimal / Conceptual:
Dorothee and Konrad Fischer and the Art Scenes in the 1960s and 1970s
January 22, 2022 － March 13, 2022
AICHI PREFECTURAL MUSEUM OF ART
Minimal art and Conceptual art are two trends which brought about decisive changes to art in the latter half of the twentieth century. Minimal art developed mainly in the US and is characterised generally by its use of industrial materials and ready-made articles such as metal plates and fluorescent lights, simple geometric forms like squares and cubes and their repetition, etc. Conceptual art, which emerged after Minimal art and spread internationally during the same period, emphasized the artist's thoughts more than the material work produced by the artist. In Conceptual art, the idea or concept was considered the most important element in art.
Konrad Fischer, who studied at the Kunstakademie Düsseldorf and was active as an artist, promptly showed an understanding of the artists demonstrating these new trends. Together with his wife Dorothee, he opened an exhibition space in Düsseldorf in 1967. There, through innovative processes, they realised exhibitions together with young American and European artists. Rather than having the completed works sent from the artist's studio, Dorothee and Konrad Fischer had the artist come to produce the works in Düsseldorf. Alternatively, based on instructions sent by the artist, Fischer would carry out the production and display of the works together with craftsmen or engineers at the exhibition space.
Dorothee and Konrad Fischer collected works by the artists whose exhibitions they had undertaken and, at the same time, kept multifarious archive materials such as letters, instruction notes, and drawings concerning the production process. These works and archive materials have been acquired in recent years by the Kunstsammlung Nordrhein-Westfalen, Düsseldorf, as the Dorothee and Konrad Fischer Collection and Archive.
The exhibition travels to
Hyogo Prefectural Museum of Art, Kobe 26 March - 29 May 2022
Wolfgang Laib and Richard Long
at Diriyah Biennale: Feeling the Stones
11.12.2021 - 11.03.2022
The Diriyah Biennale Foundation has announced Monday the theme for Saudi Arabia’s first contemporary art Biennale titled “Feeling the Stones”.It is inspired by the idea of “crossing the river by feeling the stones,” a slogan that emerged during the 1980s as a metaphor for action at a time of social and economic transformation. The Biennale will take place at JAX district in Diriyah from Dec.11, 2021 to March 11, 2022.
Philip Tinari, director and chief executive of UCCA Center for Contemporary Art in Beijing and curator of the Biennale, said: “We hope that this exhibition will expose new generations of viewers to global contemporary art, not just as a mode of visual expression but as a space for critical thinking. The art scene in Saudi Arabia finds itself at a crucial juncture, and art has an important role to play in reflecting on key issues of the moment.”
photo: Courtesy the artist
Thomas Schütte
Georg Kolbe Museum Berlin
19.11.2021 - 22.02.2022
The exhibition at the Georg Kolbe Museum comprises around 30 sculptures and numerous works on paper - including works created as recently as 2021. These are complemented by a selection of conceptual-architectural models with which the artist has been addressing the revolutionary spatial principles of modernism for many years. Whether organic-figurative or space-creating and abstract, all of Schütte's works can be read as a call to acknowledge the complexity of cultural-historical dynamics, discourses, and modes of representation. With multi-layered, historically conscious representations that are both radical and sensitively differentiated, Thomas Schütte addresses questions that are closely linked to the research work of the Georg Kolbe Museum. And it is not least the direct reference to Kolbe's former context of activity, today's museum and former sculptor's studio, that makes his work experienceable in a completely new way.
photo: Courtesy the artist and Konrad Fischer Galerie
Daniel Buren
Pavoisé - travail in situ
Palais de l'Élysée
While the FIAC is just starting and the capital is buzzing again with multiple artistic initiatives, let's throwback to the exceptional work Pavoisé by Daniel Buren at the Palais de l’Élysée.
Photos-souvenirs : Daniel Buren, Pavoisé, travail in situ, jardin d’hiver • winter garden, Palais de l’Élysée, Paris, septembre • September 2021. Détails • Details
© DB-ADAGP Paris, 2021. Photo. DR. Courtesy the artist and kamel mennour, Paris/London
Riachard Long
BANG! City Festival of the Big Bang
at Museum Leuven
22.10.2021 - 20.03.2022
Richard Long has primarily made walking the medium for his art, with nature and wilderness landscapes his main inspiration. In making long walks around the world, he often makes sculptures along the way, marks of passage and transformation. His work in geometric shapes emphasise both the order and diversity of the cosmos. They can be considered as metaphors for existence and reflect his ideas about travel, places, distance, time, space and movement.
BANG! is a city festival organised by KU[N]ST Leuven in collaboration with players from the cultural, scientific and tourist sectors. In this context M will host another exhibition ‘Imagination of the universe’ aside from the Richard Long exhibition. Central to these exhibitions is man's amazement at the creation of the cosmos.
Photo: Achim Kukulies
Edith Dekyndt
VISITATION ZONE, CHAPTER III
at 91.530 Le Marais, Château du Marais, near Paris
For Visitation Zone Edith Dekyndt engaged in parallel acts of preservation; making visible a bed of segments of dust and dirt accumulated on-site over the years on top of which she placed glass vitrines filled with fermented products (tied to the region’s pickling heritage). It serves as a reminder that in giving presence to the neglected we might uncover the processes that decelerate time, offering a potential to heal thoughts and map out an alternative existence for imagining another future.
Photo: Courtesy the artist and Konrad Fischer Galerie
Minimal / Conceptual:
Dorothee and Konrad Fischer and the Art Scenes in the 1960s and 1970s
October 9, 2021 － January 10, 2022
Minimal art is known as a trend in art which developed mainly in the US during the 1960s. Its use of industrial materials and ready-made items such as brick, metal plates, or fluorescent lights and its compositions employing and repeating simple geometric forms like squares and cubes can be cited as general characteristics of this trend.
In Conceptual art, which appeared after Minimal art and spread during the same period, the idea of the work is more important than the actual object produced. The most significant element in art was considered to be the idea or concept. Without being limited to any particular form, diverse mediums and forms ranging from language, photographs, videos, printed matter, daily use commodities, or natural things to the artist’s own body were employed.
The gallery Konrad Fischer opened in Düsseldorf in 1967 became one of the international bases where such new tendencies in art were introduced. While making contacts with young artists in the US and Europe, Fischer realized exhibitions through unconventional processes. Rather than paying a huge sum to transport the finished works from abroad, he invited the artists themselves to Düsseldorf and had them create their works there. Alternatively, based on instructions provided by the artist, Fischer and engineers, etc. would undertake the execution and installation of the display.
The exhibition is co-organized by and based on works from the Kunstsammlung Nordrhein-Westfalen, Düsseldorf.
Carl Andre, Cloud & Crystal / Lead Body Grief Song (Wolke & Kristall / Blei Leib Leid Lied), 1996
Kunstsammlung Nordrhein-Westfalen, Düsseldorf
© Carl Andre / VAGA at ARS, NY / JASPAR, Tokyo 2021
Nanowires
Permanent public sculpture commission for the Engineering Department at the University of the West of England
The University of the West of England Engineering Department, Video interview with Professor Ioannis Ieropoulos, whose research alongside the bodies of electricity generating bacteria inspired Nanowires, 18th November 2021
The University of the West of England Engineering Department, Video interview with Alice Channer, 18th November 2021
Nanowires, 2021
Sand-Cast, Painted, Vapor-Blasted and Chromed Aluminium;
Rolled and Mirror-Polished Aluminium Tube
5 parts each approx 433 x 77-51 cm
photo: Courtesy the artist and Konrad Fischer Galerie
curated by Alicia Holthausen and Gregor Jansen.
Some 8,400 Japanese people currently live in Düsseldorf—the largest Japanese community in Germany and the third-largest in Europe after London and Paris. In addition to numerous Japanese companies, institutions, businesses and initiatives, the Japanese influence is also evident in the city’s art scene: since the 1960s, more than three hundred artists of Japanese origin have completed their studies at the Kunstakademie Düsseldorf.
The members of the Japanese community have established friendships with the people of Düsseldorf. In 2021, the Japanese-German friendship will also officially commemorate its 160th anniversary. In the context of this anniversary year, the Kunsthalle Düsseldorf thus aims to celebrate friendship and invited five of its friends of Japanese origin to a joint group exhibition.
Each of these artists associated with the Düsseldorf Art Academy was in turn asked to invite an artist friend of his or her own to the group show.
Artists: Takeoka Yūji, Nara Yoshitomo, Murase Kyōko, Andō Yukako, Kinoshita Ryō, Karin Sander, Nakahara Masao, Anca Muresan, Magdalena Jetelová und Arakawa Sōya
Photo: Katja Illner
Lethality and Vulnerability
part of Afterness (Group), a series of major new commissions by Artangel at Orford Ness, UK
1st July - 30th October 2021
Artangel, Afterness (Group), project information
Lethality and Vulnerability,
2021
Rolled Aluminium Tube; Mirror Polished, Lazer Cut
Folded and Welded Aluminium Sheet
Approx 628cm x 550cm x 273cm
photo: Courtesy the artist and Konrad Fischer Galerie
Charlotte Posenenske and Gregor Schneider
THE WAY WE ARE 3.0 (Group exhibition) at Museum für moderne Kunst Weserburg
20.03.2021 - 23.01.2022
curated by Ingo Clauß and Janneke de Vries
The exhibition brings together more than 190 works from different eras and contexts and addresses both contentual and formal issues. Seven thematic areas formulate artistic approaches to depicting the human being, develop a current picture of Germany, engage in multifaceted play with everyday life or the medium of the book, and investigate minimalist tendencies, photographic procedures or aesthetic contradiction. Moreover, spaces devoted to Kapwani Kiwanga, Joyce Pensato, Claudia Piepenbrock and Norbert Schwontkowski offer a dense array of insights into four artistic procedures with quite diverse emphases. And with Mel Chin an artist’s bar even makes an appearance.
Photo: Courtesy the artist and Konrad Fischer Galerie
The different motifs have been executed in various formats, editions and as chromogenic prints and stereo photos.The works on show at Konrad Fischer Galerie Berlin are the Riehl House built in 1907 for the philosopher Alois Riehl in Potsdam, being the first contract for the young architect, the Werner House, built in 1917 for the engineer Ernst Werner and his wife, and the Lemke House, built in 1932 for Mr & Mrs Lemke in Alt Hohenschönhausen. The Lemke House was the last project Mies realized before leaving Germany in 1938. The house is used today as the Mies van der Rohe House, Berlin.
Gallery hours August 20-22:
Friday 11 a.m. to 7 p.m.
Saturday 11 a.m. to 7 p.m.
Sunday 10 a.m. to 6 p.m.
Thomas Ruff, h.l.b.01 (2001), C-Print, from the series l.m.v.d.r., Haus Lemke, Berlin Alt-Hohenschönhausen, built by Mies van der Rohe in 1932
Photo: Courtesy the artist and Konrad Fischer Galerie
Peter Buggenhout at Kunstenfestival Watou 2021
curated by Benedicte Goesaert, Chantal Pattyn and Peter Verhelst
Poperine, Belgium
03.07.2021 - 05.09.2021
The 40th edition represents movement, harmony, humanity and intensity. ‘Watou 2021’ is as an outstretched hand to experience poetry and visual art with brains, senses and feelings, thus being filled with the multi-layered nature of art. ‘Watou 2021’ starts from within mankind himself. The curators ask themselves the question: What is our role and position in this world?
Photo: Courtesy the artist and Konrad Fischer Galerie
Thomas Schütte
Hütte (2016-2021)
Kunsthaus Zug, Daheimpark
ab 18. Juni 2021
Der markante und für alle Besucher offene Holzbau, der für fünf Jahre in unmittelbarer Nachbarschaft zum Kunsthaus Zug bleiben wird, passt sich sorgsam in die Anlagen des Daheimparks ein - ein schwebender Pavillon, eine offene Bühne für das Sehen der Umgebung.
Den Daheimpark wählte der Künstler selbst als Standort aus. Humorvoll spielt der Titel mit dem Namen des Künstlers. Das Werk „Hütte“ in Zug ist die erste langfristige Realisation einer Schütte-Architektur in der Schweiz.
Photo: Courtesy the artist and Konrad Fischer Galerie
Rita McBride
Mirrors and Windows (Group) at Sammlung Philara
18.06.2021 - 03.10.2021
Rather than reproducing further gender-based territories, the exhibition's formal set up is aimed at creating a multi-voiced space of diverse, brilliant artistic approaches and experiences. The works featured at the Philara Collection bear similarities in how they question their own position and draw boundaries to and reflect on power structures at the time of their creation. This includes practices of negotiating gendered role attributions, addressing the interaction of private and public policies, questioning traditional language conventions and prerogatives of interpretation and implementing strategies of appropriation and exertion of influence. Alongside renowned positions of contemporary art, the exhibition highlights works by women as yet remaining unknown to a larger audience, since they were only marginally registered by the system of their time or their recognition was carried over into the present less prominently.
Photo: Courtesy the artist and Konrad Fischer Galerie
Bernd & Hilla Becher
Photo & Druckgraphik
Kunstarchiv Kaiserswerth
12.06.2021 - 19.12.2021
Photographien von Bernd und Hilla Becher werden Druckwerken aus dem Gebrauchskontext von Präsentationen und Publikationen gegenübergestellt, die die Entwicklung ihres einflussreichen Werkschaffens wie auch die Rezeptionsgeschichte exemplarisch vor Augen führen. Der Blick auf Plakate, Kunstdrucke, Bücher, Broschüren, Zeitschriften, Einladungskarten in Kombination mit analog gefertigten Photographien vermittelt einen lebhaften Eindruck der vielen Auftritte und Lesarten, die die Motivwelt der Bechers zwischen den 1960er- und 2010er-Jahren international durchlaufen hat.
Photo: Bernd & Hilla Becher, Gasbehälter Wetter, 1969, Gasbehälter Bonn, 1992, b/w photography © Estate Bernd & Hilla Becher
Bruce Nauman
Stedelijk Museum Amsterdam
from 5 June 2021
Throughout his career, Nauman has relentlessly challenged the possibilities of what art may be, and directly confronts viewers with their own physical and mental presence. The exhibition is a non-chronological journey through Nauman’s multifaceted oeuvre, and allows visitors to experience his sculptures, neon works, films, video works, sound recordings, text and works on paper, highlighting themes the artist endlessly revisits.
The exhibition is organised by the Stedelijk Museum Amsterdam and Tate Modern, London in collaboration with Pirelli Hangar Bicocca, Milan.
Curated by Leontine Coelewij, Curator Contemporary Art Stedelijk Museum Amsterdam, Martijn van Nieuwenhuyzen, former Curator Contemporary Art Stedelijk Museum Amsterdam, Andrea Lissoni, former Senior Curator (International Art), Film, Tate Modern, Nicholas Serota, former Director Tate and Katy Wan, Assistant Curator, Tate Modern.
Photo: Courtesy the artist and Konrad Fischer Galerie
Edith Dekyndt
Active Threads (Group), KAI10 | ARTHENA FOUNDATION, curated by Julia Höner
08.05.2021 - 05.09.2021
The international group exhibition Active Threads at KAI 10 | ARTHENA FOUNDATION inquires into the social and political relevance of textiles today. It explores how textile fabrics still function as extremely effective means of communication, even in our present digital era. The exhibition documents the ways in which fabric and textile techniques can contain political messages, decor can be transformed into radical symbolism, or fabrics can store memories and preserve our material environment. It thus becomes evident in just how many ways textiles can serve as catalysts of societal and cultural processes. In an increasingly virtualised world lacking tactile encounters, the exhibition Active Threads invites us to a diverse sensual experience of the material qualities inherent in art.
KAI 10 | ARTHENA FOUNDATION, Foto: Achim Kukulies
Juergen Staack
Sound and Silence
Der Klang der Stille in der Kunst der Gegenwart
Kunstmuseum Bonn
27.05.2021 - 05.09.2021
Die Ausstellung Sound and Silence widmet sich dem Thema der Stille und des Schweigens im Feld der aktuellen Bildenden Kunst. Die Präsentation wird im Blick auf das Jubiläum des 250. Geburtstags von Ludwig von Beethoven realisiert und nimmt den fortschreitenden Prozess seiner Ertaubung als Ausgangspunkt für die grundsätzliche Frage nach dem Verhältnis von Klang und Stille, der produktiven und zugleich zerstörerischen Kraft des Schweigens und der Unmöglichkeit einer völligen Stille.
Photo: Courtesy the artist
Giuseppe Penone
The Listener
as Special Event of the 17th International Architecture Exhibition - La Biennale di Venezia
Presented by the Vuslat Foundation
Until 21 November 2021
Photo: Sebastiano Pellion di Persano, courtesy Vuslat Foundation and the artist
Bruce Nauman
Contrapposto Studies
Palazzo Grassi - Punta della Dogana
23.05.2021 - 09.01.2022
The exhibition in Venice is focused on a series of recent video installations that Nauman has developed in the last five years and are related to a single channel video from 1968, “Walk with Contrapposto.” The show includes a comprehensive survey of that series along with a number of earlier performances, installations and videos that provide the overall context for the recent work. From the 1960s to today, Bruce Nauman has constantly experimented with different artistic languages – from photography to performance, sculpture and video – to explore and mine their potentialities in a body of work that relentlessly explores the human condition while interrogating the very definition of what constitutes artistic practice.
Photo: Courtesy the artist and Konrad Fischer Galerie
Tony Cragg at Houghton Hall
19.05.2021 - 26.09.2021
Major works by Tony Cragg are shown in the grounds and historic interiors of Houghton Hall in Norfolk. The exhibition, curated by the artist himself, includes large-scale bronze and steel sculptures sited in the gardens and grounds, and smaller pieces shown in the State rooms and gallery spaces of the house. Several new works have been made specifically for the exhibition.
Photo: Pete Huggins
Aleana Egan
small field
Künstlerhaus Bremen
08.05.2021 - 18.07.2021
In small field entwirft Aleana Egan ein Setting aus abstrakten Skulpturen, die sich zu vielschichtigen Konstellationen zusammenfügen – Materialien wie Metalle, Holz, Pigmente und Stoffe verweisen auf ihre eigenen Eigenschaften und bleiben dennoch unkonkret: In ihrer Unbestimmtheit lösen die Objekte vielmehr immaterielle Momente aus – Ideen, Gedanken, Gefühle, Stimmungen, Energien und Beziehungen sowohl zueinander als auch zwischenmenschlich, die sich in Formen manifestieren und das Innere nach außen kehren. Latente Anspielungen werden in bildhauerische Gesten übersetzt sichtbar und rücken das Prozesshafte ins Zentrum.
Photo: Courtesy the artist and Konrad Fischer Galerie
Alice Channer
Sculpture in The City 2021 (Group), City of London, UK
June 2021 - May 2022
The 10th Edition of Sculpture in the City will launch 15 June 2021. Further details will be made available on the website and social media channels in coming weeks.
Participating artists include: Alice Channer, Almuth Tebbenhoff, Bram Ellens, Elisa Artesero, Eva Rothschild, Guillaume Vandame, Isabella Martin, Jake Elwes, Jun T. Lai, Laura Arminda Kingsley, Laure Prouvost, Mark Handforth, Mike Ballard, Oliver Bragg, Regitze Engelsborg Karlsen, Rosanne Robertson, Ruth Ewan, Tatiana Wolska
Photo: Courtesy the artist and Konrad Fischer Galerie
Alice Channer
Liverpool Biennial 2021: The Stomach and The Port (Group), curated by Manuela Moscoso, Liverpool, UK
19 May - 27 June 2021
Alice Channer presents a series of sculptures and pleated fabric prints at The Lewis’s Building. In the assembled works, Channer mimics a geological process that happens on a massively non-human scale using industrial processes that operate on a human scale – a deliberate conflation of scales and kinds of body. Loosely resembling natural rock formations, such as ammonite fossils, Channer’s large-scale sculptures represent the passing and scale of geological time. Bone-shaped structures, created by the application of multiple distortion, stretching and casting techniques, show strata-like ridges on their surfaces.
Photo: Achim Kukulies
Peter Buggenhout
nicht geheur
Kunstmuseum Reutlingen
01.05.2021 - 12.09.2021
Peter Buggenhout describes his hybrid sculptures as "abject things" that reject any classification, including those as artistic works: found objects, waste and technical but also organic materials such as pig's blood, cow's stomachs and horsehair are joined and worked on until a certain degree of abstraction is achieved, which still tempts identification but at the same time prevents it. Buggenhout's sensual sculptures therefore appear as essential counterparts that are uneasy and odd. For this major exhibition in Reutlingen, the artist produces a new group of works from the "eternal material" that has been wandering through the ages: marble.
Photo: Courtesy the artist and Konrad Fischer Galerie
Thomas Ruff
after.images - WORKS 1989-2020
National Taiwan Museum of Fine Arts
27.03.2021 - 04.07.2021
The exhibition curated by Martin Germann and the show is conceived as a spatial network of museum galleries with five visitor friendly thematic chapters to understand and to read Ruffs practice from various angles, Working in Series: Tableaux chinois, Turning Points in the History of Photography, Astronomy, Genre and Press, in which many of the issues interfere.
Photo: Courtesy the artist, © VG Bild-Kunst, Bonn
Paul Czerlitzki
LOSE ENDEN (Group exhibition) at Kunsthalle Bern
27.03.20211 - 16.05.2021
curated by Valérie Knoll and Julia Künzi
The artists brought together in Lose Enden are writing the latest chapters in the history of painting, while not necessarily regarding themselves as painters. In contrast to the practice of preceding generations, their differences are less likely to be expressed in gestures of hesitation and scepticism. Many draw upon an abundance of resources, acutely aware of the formidable conventions with which they are engaging. Faced with the prospect of having to add to the vast system of images, narratives and ideas, they seem to exhibit a remarkable self-confidence. Something has changed. Only ten years ago, painting was being discussed in terms of its capacity to reproduce circuits of social and economic power – networks were detaching it from what it referred to. In Lose Enden, the relationships emerging from beneath the surface appear neither to be restricted to particular networks, nor entirely distinct from others. Notions of this kind, conceived in metaphors of digital complicity, have bottomed out. Relationships tend again to be thought of in isolation from each other, as if people were watching each other at work in their glass studios, rather than actually meeting and exchanging ideas.
Photo: Achim Kukulies
Thomas Schütte
Skizzen zum Projekt Großes Theater
Skulpturenhalle Neuss
30.04.2021 - 01.08.2021
Photo: Luise Heuter, © VG Bild-Kunst, Bonn 2021
Hanne Darboven
Der Regenmacher
MKM MUSEUM KÜPPERSMÜHLE FÜR MODERNE KUNST DUISBURG
+++ VIRTUELL ERÖFFNET +++
Hanne Darboven, who described herself as a writer and composer, is one of the most important artists of the 21st century. At the center of her work is the writing and making visible of time as a way of experiencing and coping with reality. "My work is a recording in the sense of being there, it is working through," Darboven formulated as early as 1966 and throughout her life developed her very own contribution to Conceptual Art and Minimal Art. Until her death in 2009, the artist lived and worked in seclusion in Hamburg in a studio that resembled a Wunderkammer.
The MKM is showing four large work cycles from the Ströher Collection, comprising around 2,000 individual works. They are exemplary for Hanne Darboven's thinking and work and are complemented by biographical insights. The central work Der Regenmacher (The Rainmaker, 1985) is on view for the first time after 20 years in its entirety with all 1,386 sheets.
Mario Merz
at Dia:Beacon
Riggio Galleries, Beacon, New York
long-term exhibition
Dia Art Foundation presents a long-term exhibition of work by Mario Merz, opening fall 2020, at Dia Beacon in Beacon, New York. Featuring recent acquisitions, the exhibition includes Teatro cavallo (Horse Theater, 1967) and Tavola spirale (Spiral Table, 1982) alongside historical loans from collections in the United States and the Fondazione Merz in Turin. Using recycled organic and industrial materials, the artist developed a highly imaginative iconography and recast timeless forms, such as the igloo and table, in installations that envision the interdependency of individuals, society, and the natural environment. Spanning the late 1950s through the mid-1980s, the exhibition revisits Merz’s key forms and motifs, distinctive use of neon, and deployment of the Fibonacci sequence—where each number equals the sum of the two that precede it—for the structure of his installations. This will be his first solo institutional presentation in the United States in years.
Paloma Varga Weisz
19.05.2021 - 20.06.2021
Le Consortium
Curated by Eric Troncy
Erected in the Consortium Museum’s “White Box,” Glory Hole takes the shape of a large-scale rustic cabin, in which the roughly-assembled boards made of dark wood let slip through a few rays of light emanating from the inside. The artwork, which was shown for the first time in 2015 at the Salzburg Kunstverein (Austria) and presented more recently at the Bonnefanten Museum in Maastricht (Netherlands, 2019), is inspired by the artist’s research in the Austrian countryside, where the cabin was collected and later transported to its subsequent exhibition spaces.
Impressive yet impenetrable, the installation is activated by the visitors’ curiosity. To discover
its contents, viewers are invited to approach
the structure and look inside through its various suggestive apertures—gaps in construction, and the glory holes intended for that exact purpose.
Through the viewers’ inquisitive eyes, two dimly
lit rooms are revealed, featuring several wholly fabricated characters. Two human-size puppets, reduced to mechanical sexual gestures, are animated by cables hanging from the ceiling. With a face distorted by a prominent penis, agitated by repetitive jerks, one of the sculptures embodies a ludicrous, exacerbated virility. The presence of two taxidermy monkeys adds to the absurdity of this mise-en-scène.
Wolfgang Plöger
. [edit]
Japanisches Palais, Dresden
14.11.2020 - 22.02.2021
curated by Björn Egging and AdA Archiv der Avantgarden
For his upcoming solo exhibition Wolfgang Plöger kindly asks for your support in sending him test prints from your own printers.
As a thank-you all participants will receive a copy of a dirt print edition.
Charlotte Posenenske: Work In Progress
MUDAM Luxembourg
10.10.2020 – 10.01.2021
Kuratoren:
Jessica Morgan und Alexis Lowry
Die Ausstellungspräsentation im Mudam wird kuratiert von Clément Minighetti
Assistiert von Sarah Beaumont
Die Ausstellung Charlotte Posenenske: Work in Progress wird organisiert von der Dia Art Foundation in Beacon, New York, in Zusammenarbeit mit dem MACBA in Barcelona, der Kunstsammlung Nordrhein-Westfalen in Düsseldorf und dem Mudam Luxemburg – Musée d’Art Moderne Grand-Duc Jean.
Bruce Nauman
Tate, London
07.10.2020 - 21.02.2021
Bruce Nauman is a restlessly inventive artist. Since the late 1960s he has continually tested what an artwork can be, by reshaping old forms and creating new ones. His ground-breaking works using sound, film, video and neon have influenced generations of artists.
This is the first major exhibition of his work in London in more than 20 years. It allows visitors to engage with the artist’s universe through immersive installations with a strong emphasis on sound and moving image, as well as poetic sculptures and neon pieces.
Major works like Double Steel Cage Piece 1974, Anthro/Socio (Rinde Spinning) and Clown Torture 1987 highlights Nauman’s distinctive preoccupations and how he incessantly revisits them – yet never repeats himself.
Exhibition organised by Tate Modern and Stedelijk Museum Amsterdam in collaboration with Pirelli HangarBicocca, Milan
Photo: Helge Mundt, © VG Bild-Kunst, Bonn 2020
Group Exhibition "Wände / Walls"
Kunstmuseum Stuttgart
26.09.2020 – 31.01.2021
u.a. Daniel Buren, Sol LeWitt, Bruce Nauman, Charlotte Posenenske, Thomas Schütte, Lawrence Weiner
The exhibition WÄNDE I WALLS brings together works from 1966 to today, in which the spatial boundary of the wall is thematized on various levels of meaning. In their works, artists such as Monica Bonvicini and Yoko Ono highlight the most fundamental function of walls—that of inclusion and exclusion. On the one hand, walls stand for the protection of the individual, while on the other hand they can confine and deny access. As a space-creating architectural element, they help to determine our living spaces and are involved in identity-forming processes. Artists such as Ernst Caramelle and Bruce Nauman visualize this by understanding the wall as a reacting counterpart or by giving it human characteristics. In turn, works by Jeewi Lee and Sol LeWitt, among others, address the so-called white cube as a common form of presentation of modern and contemporary art. They demonstrate how the white walls of the exhibition space influence the effect and perception of art.
Thomas Ruff
K20
Düsseldorf
12.09.2020 - 07.02.2021
Thomas Ruff (*1958) is one of the most internationally significant artists of his generation. Already as a student of the photographers Bernd and Hilla Becher at the Kunstakademie Düsseldorf in the early 1980s, he chose a conceptual approach to photography. His work, which explores a wide variety of genres and historical varieties of photography, represents one of the most versatile and surprising positions within contemporary art. The extensive exhibition at K20 focuses on image series from two decades in which the artist hardly ever picked up a camera himself. Instead, he used existing photographic material from a wide variety of sources for his often large-format images.
Bruce Nauman
Modelle
Skulpturenhalle Neuss
04.09.2020 – 13.12.2020
curated by Dieter Schwarz
Bruce Nauman thinks in models - in the form of possibility - and therefore drawing takes on a central function in his work and in this exhibition. Drawings illustrate the essential, they refer to the conceivable. Drawing as well as models are stylistically unbound and open up spaces for the imagination.
Gregor Schneider
Kreuzweg
WAY OF THE CROSS
2020 (Based on an idea for Berlin in 2006)
Plaza del Mercado, Logroño, Spain
Gregor Schneider’s installation Kreuzweg (Way of the Cross), currently on display at St. Mathhews Church in Berlin, is a dark black passageway in the shape of a cross. The cross-shaped structure has four openings, one in each of its ends, through which the viewer can enter and exit. The shape of the cross is fully obtainable only from an aerial, God-like point of view. Upon entering the passageway, the viewer loses the formal contour of the structure, as the contour of his/her own body becomes blurred, melting into the indefinite blackness surrounding it, in which the distinction between one’s own outer/physical and inner/psychological space is no longer clear.
Gregor Schneider
Tote Räume / Dead Spaces
West Den Haag (former American Embassy), Den Haag, Netherlands
Curator: Marie-José Sondeijker
29.08. - 06.12.2020
West Den Haag is thrilled to announce Tote Räume, Gregor Schneider‘s first solo exhibition in the Netherlands. Acknowledged as a groundbreaking artistic proposition, Schneider’s work can be regarded also as prophetic in a time of mandatory social distancing since it is based on mechanisms of physical isolation. Unfolding a sequence of rooms, sculptures, human figures, photos and videos spanning four decades of radical art making, the exhibition is arranged in response to, and exchange with, the original function of its building as the U.S. Embassy in the Netherlands from 1959 until 2018.
Daniel Buren
Illuminare lo spazio, lavori in situ e situati
GAMeC – Galleria d’Arte Moderna e Contemporanea di Bergamo
09.07. - 01.11.2020
The exhibition curated by Lorenzo Giusti will gather a selection of the new fiber optic works created by the artist. Luminous fabrics, in which the geometric motifs characteristic of the artist's research alternate, will inhabit the central space of the room, creating a path of great visual intensity, capable of renewing the surrounding environment by activating an unprecedented dialogue with the paintings and ancient frescoes on the walls. Presented for the first time in Italy, Buren's fiber optic works are the most advanced result of an artistic research carried out for over fifty years.
Paloma Varga Weisz: Bumped Body
at Henry Moore Institure, Leeds
13.03.20 - 03.01.2021
Spanning over twenty years, work from throughout her career is on display. The exhibition features a diverse cast of characters; from early works such as Wilde Leute (Wild Bunch), a series of ceramics that take the form of fantastical creatures, to later pieces such as Beulenmann (Bumpman) and the fragmented body of Waldfrau (Women of the Forest).
The exhibition also includes over forty of her watercolours and drawings which present a world of masquerades, disguises and role reversals. Paloma Varga Weisz’s starting point for this poetic and narrative work is often her own life experiences, yet it also reflects wider themes of identity, societal ‘norms’ and historical stereotyping.
Growing up in Germany, her artist father was a major influence on her future artistic career. She was classically trained, learning woodcarving and modelling in Bavaria, before studying in Düsseldorf, where she lives and works today.
Cristina Iglesias
Royal Academy Architecture Prize 2020
For three years, the Royal Academy Architecture Prize has been awarded to an individual whose work inspires and instructs the discussion, collection or production of architecture in the broadest sense.
Cristina Iglesias invites us to look, not just at buildings, but at the spaces between them.
With cities home to more and more people, generous public space is increasingly necessary for reflection and respite. Iglesias’s works exist in dialogue with the buildings around them, but go further in inviting their audiences – city dwellers – to contemplate their surroundings through the introduction of running water and naturalistic imagery reminiscent of fallen leaves.