ArtSlant - Recently added en-us 40 Wolfgang Laib - Buchmann Galerie - May 2nd - July 12th <p>The Buchmann Galerie is delighted to present a Wax Room by Wolfgang Laib at the<br />Gallery Weekend Berlin 2014.<br />To date, the artist has made only three of these free-standing Wax Rooms, and rarely do<br />art lovers get the opportunity to actually see and experience one.<br />The outside of the white cube, which is covered in plasterwork, gives no indication of<br />the interior shape. A narrow passageway leads into the chamber, where one is surrounded<br />by fragrant, golden-yellow beeswax. The sensuous and physical presence of the room,<br />which is completely covered in slabs of beeswax up to 5 cm thick, is exceptionally<br />concentrated. For this fleeting moment in time the external world seems to disappear.<br />Wolfgang Laib&rsquo;s first Wax Room was built in 1988 in Berlin for the exhibition Zeitlos,<br />which was curated by Harald Szeemann, at the Hamburger Bahnhof. The free-standing room<br />&ldquo;F&uuml;r einen anderen K&ouml;rper/ For Another Body&rdquo; is one of the first beeswax pieces by<br />Wolfgang Laib and it has a similar, almost rectangular basic shape.<br />In the following years, the artist created more Wax Rooms, all of which have a<br />concealed interior which is not visible from the outside. A narrow opening in an<br />otherwise unbroken wall allows the spectator to enter the windowless chamber. The shape<br />of the basic layout is roughly an elongated rectangle, but each interior chamber is<br />individual, with some tapering to a narrow point and others bulging in the middle.<br />Wax Rooms from this period can be found in the collections of the Kunstmuseum<br />Stuttgart, the Kunstmuseum Bonn, the DePont Foundation Tilburg and MoMA New York. Last<br />year, Wolfgang Laib installed a Wax Room in the Phillips Collection Washington, where<br />it is on permanent display.<br />Wolfgang Laib spent several years searching in the Pyrenees for a suitable place to<br />install a Wax Room in the open. In 2001, he found the location he was looking for and<br />built a Wax Room on the Roc del Maure near Marcevol. The nearly four-metre long and<br />three-metre high chamber was hewn into the rock and the beeswax was applied direct to<br />the stone by hand. &rsquo;La Chambre des Certitudes/The Room of Certitudes&rsquo; is accessible<br />only after a one-hour walk up the mountainside and it offers a very intense experience<br />of the work and a view over to the Massif du Canigou.</p> Wed, 23 Apr 2014 23:42:19 +0000 Hugh Scott-Douglas - croy nielsen - May 3rd - May 31st Wed, 23 Apr 2014 23:15:24 +0000 Tillmann Terbuyken - KM Galerie - April 25th - May 31st <p>We are delighted to present the second solo exhibition of Tillmann Terbuyken at KM, Berlin. In his central spatial installation, the artist continues working with a display he created for the exhibition project Anfang gut. Alles gut in 2011. Since then Terbuyken regularily updated this body as a stage for presenting his own works.<br />&ldquo;A plywood board can have a rectangular shape. It can be lacquered white or painted with dispersion paint. It can be placed somewhere. The surface may also be gray or dove blue. One surface can be subdivided into several surfaces by means of different colors. It can hang on the wall as a plywood board or as slats covered with fabric, or screwed to a frame made of thin roof battens. The surface is in turn framed, or not, and perhaps it is no longer a surface, because a hole or an incision breaks through it. Or a circle is painted on the surface that only pretends to have a hole.<br />A rectangle with identical edge lengths is a square. If it hangs on the wall and its surface is black, its author could have been Kazimir Severinovich Malevich. A square can hang on the wall with a surface or a shape extending past its edges and making use of the carrier wall. A surface needn&rsquo;t be a square or a rectangle. It can be rounded off or part of a polygon or, as a panel, part of a wall standing upright and supported by a lath construction. A surface needn&rsquo;t be painted and a panel needn&rsquo;t be made of glued layers of thinly cut wood.<br />If a short piece of lath was screwed under a frame covered with fabric and both were painted dark green, it could be a writing tablet. If this element is hanging askew on the wall, which consists of four differently painted plywood boards, then it is a composition. One of the boards can be opened like a window, its rear side painted white is lined with pastel-like purple. It is the manifestation of a postconceptual dealing with the picture carrier, this purple-colored frame around the immaculate or at least grounded plywood. However, this manifestation is the rear side of a foldable surface next to an obliquely attached writing tablet above a three-dimensional extremity of unpainted plywood supporting the foldable module.<br />Because this wall-picture-composition is standing in space, it requires a body. Tillmann Terbuyken lends it a body with the basic form of a scalene triangle tipped to the side. He gives the volume of this body a window in its facade, and the facade is a facade because its rear side, the actual inner life of the body, was folded upwards and the large frame covered with fabric is now supported by two assembled and partially varnished laths.<br />In his work, Tillmann Terbuyken gathers hinges of the doors that have been repeatedly opened to reflect upon the medium of painting. The illusory image has a carrier, it hangs on the wall, it is a surface, an icon in itself, its carrier is a body, it has an edge, it is a detail, a horizon, an architecture in itself, and furnishes representative states of the notions of what a picture is and what it institutes. If its institution is clear, its borders are definable and an alleged revolution against them takes place. Once, a second time a bit differently, and at one point the border transgression comes out as an emptied and idle assertion. Terbuyken presents the wear of border transgressions as an ideal medium for actions that cover the art-intrinsic dealing with the picture carrier like a texture.&rdquo;<br />Marcel Hiller<br />Tillmann Terbuyken (*1978) lives and works in Hamburg. He has been a member of Friends and Lovers in Underground since 2011. Selected exhibitions: changing &amp; growing, KM, Berlin (2012), Anfang gut, Alles gut, Basso, Berlin / KUB Arena, Kunsthaus Bregenz (2011), Stra&szlig;engedanken Revisited, K&ouml;lnberg Kunstverein, Cologne (2009), Schatten und Statuen, Kunstverein Harburger Bahnhof (2008), Folded Shadows, The Hex, London (2007).<br />From June 15 through July 13, 2014, works by Tillmann Terbuyken will be on view in the solo show Wenn Du es gleich siehst, wird es schon anders sein at Galerie der Wasserm&uuml;hle Trittau.</p> Wed, 23 Apr 2014 22:55:28 +0000 Georges Adéagbo - Wien Lukatsch Galerie und Buchhandlung für Kunstbücher - May 2nd - July 25th <p>Das Thema der Ausstellung von Georges Ad&eacute;agbo (*1942 Cotonou, Benin) ist "Les artistes et l&lsquo;&eacute;criture"..! - Die K&uuml;nstler und das Schreiben.</p> <p>Wie immer bezieht sich Ad&eacute;agbo direkt auf den Ort, an dem er arbeitet und ausstellt &ndash; und die Zeit, in der die Installation entsteht. Zuerst ist es sein Leben und sein Alltag in Cotonou in Benin, wo er lebt. Dort f&auml;ngt er an, das Thema, das er sich vorgenommen hat, zu entwickeln &ndash; er schreibt Texte, er gibt Bilder in Auftrag, sammelt afrikanische Holzfiguren, Zeitungsausschnitte und vom Strand und der Stadt aufgelesene Fundst&uuml;cke und f&auml;ngt in seinem Hof an, die Dinge wie Assoziationsketten aneinander zu reihen. Seine eigenen Texte und ausgew&auml;hlte Bilder aus B&uuml;chern l&auml;&szlig;t er vom Schildermaler "Esprit petit fr&egrave;re" auf Leinw&auml;nde oder Plastikplanen malen &ndash; und hat damit eine Form der ganz eigenen, afrikanischen Konzeptkunst entwickelt. Er schickt dann all diese gesammelten Materialien zu der Galerie, von der er eingeladen ist. <br /> Parallel schaut er sich den Ort an, an dem er ausstellen wird &ndash; in diesem Fall Berlin. Wie ein Ethnologe betrachtet er dort die Lebensbedingungen und -gewohnheiten, in denen sich die Anderen eingerichtet haben. Er sammelt Schallplatten, B&uuml;cher, Kleider, Schuhe, Merkw&uuml;rdigkeiten auf den Berliner Flohm&auml;rkten &ndash; also, wenn man so will, den M&uuml;ll und die Reste der Berliner. Relikte der DDR, einer anderen untergegangenen Kultur, die auf den Flohm&auml;rkten zu finden sind, durchziehen das ganze Ensemble &ndash; z.B. Schallplatten von Therese Giehse oder Bertolt Brecht. Daneben stehen die &Uuml;berbleibsel der West-Kultur &ndash; Schallplatten von Mireille Mathieu, oder deutschen Schlagerheroen wie Roland Kaiser &ndash; in n&auml;chster N&auml;he zur sogenannten Hochkultur. All das Material wird in raumf&uuml;llenden Installationen aneinandergereiht und zieht sich &uuml;ber W&auml;nde und B&ouml;den. <br /> Die formalen und gedanklichen Ketten bilden eine nicht hierarchische Anordnung der Dinge: high und low / afrikanische und westliche Kultur / Kitsch und Philosophie &ndash; alles besteht gleichzeitig.<br /> Weitere Themen in diesem Teppich der Assoziationen sind die politische Indoktrination und der latente und offene Rassismus in den Medien, die Politik der Apartheid, die Geschichte der Unabh&auml;ngigkeit afrikanischer L&auml;nder, die Systematiken der Geschichtsschreibung und die Welt der Philosophie, das K&uuml;nstler-Sein, das Schreiben und das Lernen, der Zusammenhang von Bildung und Macht. Ad&eacute;agbos Identit&auml;t als afrikanischer K&uuml;nstler und Schriftsteller wird ebenso intensiv besprochen wie politische Fragen zur postkolonialen Entwicklung Afrikas und die Geschichte religi&ouml;s motivierter Kriege.</p> <p>Das Schreiben von Ad&eacute;agbo zeichnet sich durch eine essayistisch-literarische Form aus. Es ist aphoristisch, manchmal sprunghaft und immer repetitiv. Gedanken werden in Varianten und Wiederholungen ausgef&uuml;hrt, die an die Methoden von Gertrude Stein erinnern. Die Texte haben keine belehrende Funktion, sie stellen Fragen, besprechen Probleme durch Parabeln und bieten, wenn &uuml;berhaupt, verr&auml;tselte Antworten.</p> <p>In der Ausstellung haben wir Ad&eacute;agbos franz&ouml;sisch geschriebene Texte ins Deutsche und Englische &uuml;bersetzt und wie alles, was w&auml;hrend der Entwicklung der Ausstellung entsteht, werden auch diese &Uuml;bersetzungen Teil der Wandinstallation. Auch der Galeriealltag und die Geschichte der Galerie und Buchhandlung tauchen in der Arbeit "Les artistes et l&lsquo;&eacute;criture"..! auf.</p> <p>Georges Ad&eacute;agbo wurde 1942 in Cotonou (Benin) geboren. Er lebt und arbeitet in Cotonou und Hamburg. Nach seinem Jurastudium in Abidjan (Elfenbeinküste) und Rouen (Frankreich) kehrte Ad&eacute;agbo Ende der 60er nach Benin zurück. Bis er 1993 von dem Kurator Jean-Michel Rousset durch Zufall entdeckt wurde, machte er t&auml;glich komplexe Installationen in seinem Hof, ohne sich als Künstler zu verstehen. 1994 wurde er zu seiner ersten Ausstellung "La Route de l&lsquo;art sur la Route des esclaves" nach Besan&ccedil;on eingeladen. Ab diesem Zeitpunkt setzt er seine ortspezifischen Installationen mit einem Team von Handwerkern in Benin um. 1999 nahm er an der Biennale von Venedig teil und erhielt für seine Installation auf dem Campo Arsenale als erster Künstler aus Afrika den Preis der Jury. Sp&auml;testens seit 2002, als Ad&eacute;agbo im Rahmen der von Okwui Enwezor kuratierten documenta 11 in Kassel eine In-Situ-Installation pr&auml;sentierte, die sp&auml;ter in modifizierter Form in die Sammlung des Museum Ludwig in K&ouml;ln überging, geh&ouml;rt Ad&eacute;agbo zu den renommiertesten Künstlern Afrikas. Seine Werke sind in internationalen Sammlungen zu finden, Philadelphia Museum of Art, Toyota City Museum, Museum Ludwig K&ouml;ln, KIASMA Helsinki, MUSAC Le&oacute;n usw.</p> <p>Die Ausstellungen werden unterstützt und kuratorisch betreut von Stephan K&ouml;hler (Kulturforum Süd-Nord Hamburg-Cotonou).</p> Wed, 23 Apr 2014 00:40:58 +0000 Robert & Trix Haussmann, Friedrich Kuhn - Tanya Leighton Gallery - April 29th - June 28th Wed, 23 Apr 2014 00:34:47 +0000 Philip-Lorca diCorcia - Sprüth Magers Berlin - May 2nd - June 21st <p>In the early 1990s, Philip-Lorca diCorcia made five trips to Los Angeles, where he drove along Santa Monica&nbsp;Boulevard and nearby neighborhoods on the lookout&nbsp;for male prostitutes. The artist would then strike a deal: he&nbsp;offered each prostitute his normal rate, asking only to take their photograph. The resulting series, today&nbsp;called&nbsp;<em>Hustlers</em>,&nbsp;was both a breakthrough for the artist and a key episode in the now familiar mode of photography that&nbsp;occupies a semi-fictive space between street&nbsp;and stage. The historical specificity and taxonomic&nbsp;impulse of the project are declared in the title of each photograph: the subject is identified by his name, age, place of&nbsp;birth, and the money he&nbsp;received for agreeing to pose. <br /> <br />Philip-Lorca diCorcia predetermined each setting, posing his assistant to prepare the lighting and set up before returning with a man to make the final photograph. Hotel rooms, parking lots, curbs, cafes, backyards and bus stops all offer potential backdrops for the pictures. <em>Chris, 28 years old, Los Angeles, California, $30</em> (1990-92), shows a man seated on an elevated motel walkway, the metal guardrails receding into space, his arms reaching up to clutch the highest rail. He might be lost in thought, yet the picture also conveys a sense of entrapment. <em>Tim, 27 years old, Orange County, California, $30</em> (1990-92) depicts a shirtless man bathed in warm light, gingerly approaching an open door as if he couldn&rsquo;t quite tell whether it offered an escape or an alluring dead-end. The subjects convey a range of emotions or attitudes, from dignified beauty to desperation, lending poignancy to the elegiac mood of the series. <br /> <br />Conceived amid the AIDS crisis and during the &lsquo;culture wars&rsquo; of the early 1990s, an era fuelled by the censorious rhetoric of figures such as Jesse Helms, the photographs come out of a particularly tense historical moment. In 1989, diCorcia received a grant from the National Endowment for the Arts, and this money allowed him to embark on the <em>Hustlers</em> project, not to mention pay the prostitutes in the photographs. "None of these guys were free", writes diCorcia in a new steidldangin book to mark the twentieth anniversary of the first exhibition of <em>Hustlers</em>, at MoMA, in 1993. "They charged for their services, for a faked sense of what passes for intimacy in the realm they left behind. They barely found a place to sleep or get high afterwards, but they accomplished the most sublime trade, their artistry: Nothing for Nothing. That's what was so perfect for me. It summed it all up." <br /> <br />Philip-Lorca diCorcia (born 1951, Hartford, USA) studied at the School of the Museum of Fine Arts, Boston, and at Yale University, where he is currently a Senior Critic. He was awarded the Artist Fellowship of the National Endowment for the Arts three times, as well as the Infinity Award for Applied Photography by the International Center of Photography and the Eisenstaedt Award by Life Magazine. Solo exhibitions include the Hepworth Wakefield (2014), Schirn Kunsthalle Frankfurt and Museum de Pont, Tilburg (both 2013), the LACMA, Los Angeles (2008), the Institute of Contemporary Art, Boston (2007), the Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid (1997), and MoMA, New York (1993). His series <em>A Storybook Life</em> was exhibited at Whitechapel Art Gallery, London, before travelling to the Centre National de la Photographie, Paris; Museum Folkwang, Essen, Germany; Magazin 3, Stockholm Konsthall; Fondazione Bevilacqua La Masa, Venice, and the Centro de Artes Visuais, Coimbra, Portugal, in 2003/2004. <br /> <br />Philip-Lorca diCorcia will discuss his work with the cultural critic and writer Ulf Erdmann Ziegler at the American Academy, Berlin, 7:30 pm, 30 April 2014.</p> Wed, 23 Apr 2014 00:21:28 +0000 Reinhard Mucha - Sprüth Magers Berlin - May 2nd - August 30th <p>In seltener Konsequenz gelingt es Mucha seit Jahrzehnten, formale Strenge und konzeptionelle Klarheit mit witziger Ironie, mit Reichtum und Zartheit der malerischen und bildhauerischen Details zu verbinden. In seinem Werk kreuzen und durchschneiden sich Momente der Zeitgeschichte und der pers&ouml;nlichen Geschichte, des eigenen bisherigen Werks, des Diskurses der Kunst und weiterer gesellschaftlicher Systeme. Den <strong>Frankfurter Block</strong>, eine Reprise seiner Ausstellung <strong>Schaffnerlos</strong> von 2012, unterzieht Mucha in gewohnter Virtuosit&auml;t einer raumspezifischen Metamorphose, erg&auml;nzt durch weitere solit&auml;re St&uuml;cke der letzten Jahre. <br /> <br /><br /></p> Wed, 23 Apr 2014 00:18:08 +0000 Peter Fischli, David Weiss - Sprüth Magers Berlin - May 2nd - August 30th Wed, 23 Apr 2014 00:14:09 +0000 Andreas Eriksson - Sommer & Kohl - May 2nd - June 14th <p>On occasion of the Gallery Weekend Berlin, Sommer&amp; Kohl are pleased to present new works by Andreas Eriksson (*1975, Sweden).</p> <form> <p>Andreas Eriksson&rsquo;s solo exhibition <em>Roundabouts is </em>currently touring from Bonniers Konsthall, Stockholm (SE) to Trondheim Kunstmuseum (NO); Centre Pasqu'art, Bienne (CH) and Reykjavik Kunstmuseum (IS). A catalogue accompanying the exhibition has been published by Koenig Books in London, with texts by Sara Arrhenius, Kirsty Bell, Pontus Kyander and Camilla Larsson. We will launch this book in our gallery on 3 May at 3 pm.In 2013 Eriksson has been invited by the Michel Majerus Estate to curate a dialogue between Majerus&rsquo; works and is own; in 2012 his works were included in the Sao Paulo Biennale and in 2011 he represented Sweden in the Nordic Pavilion at the 54. Biennale di Venezia, (IT). His works are included in collections such as Bonniers Konsthall, Stockholm (SE); Louisiana Museum, Humlebaek (DK); Centre Pompidou, Paris, (FR);Rubell Family Collection, Miami Beach (US).</p> </form> Wed, 23 Apr 2014 23:26:01 +0000 Nadira Husain - PSM gallery - May 3rd - May 31st Wed, 23 Apr 2014 00:05:31 +0000 David Ostrowski - Peres Projects - May 2nd - June 21st Tue, 22 Apr 2014 23:59:29 +0000 Adrian Ghenie - Nolan Judin - May 1st - June 28th Tue, 22 Apr 2014 23:57:02 +0000 Gerold Miller - Mehdi Chouakri - May 2nd - June 21st Tue, 22 Apr 2014 23:42:45 +0000 David Claerbout - Johnen Galerie - May 2nd - June 21st <p>On the occasion of Gallery Weekend 2014 Johnen Galerie will show three new works by<br />Belgian artist David Claerbout.<br />The idea for Travel dates back to 1996, but it was only in 2013, that the technical<br />capabilities to actually realize this work were available. The work is based on a<br />composition by Eric Breton from 1980, an early realization of therapeutic music, which<br />is supposed to alleviate stress and have soporific effects. Claerbout drew on one of the<br />most striking motifs, that are being associated with relaxation and tranquility: the<br />woods. The entirely artificial synthesizer music corresponds to the impressions of<br />nature, that have been created on the computer with great attention to detail. Claerbout<br />offers a highly suggestive environment, that captivates the viewer in an indissoluble<br />tension of banality, hypnosis and critical self- reflection.<br />Oil workers is based on an internet photo. It shows oil workers in Africa taking shelter<br />from the rain under a bridge, being in a state of waiting. The water masses inspired<br />Claerbout to an image that is flowing ambiguously between social documentation,<br />waiting,viewing (while the oil workers reflect the situation of the viewer), and pictorial<br />abstraction. The motif of waiting also reflects a very ambivalent human condition. It can<br />evoke boredom, frustration, reflectiveness and feelings of freedom.<br />Highway Wreck also is based on a photograph: after a complete traffic standstill, people<br />are leaving their cars to observe the cause for the traffic jam: a damaged car, and<br />rescue workers at the side of the road. The attention is focused on the accident. It is not<br />the emergency though that is at the core of this work, but rather the contrary: an over<br />70 year old photograph. Nevertheless, the viewers are attracted to the here and now of<br />the disaster and remain in voyeuristic rigidity, like spectators of a motion picture.<br />Highway Wreck is an attempt to disarm this spectacle.<br />Recent exhibitions of David Claerbout's works include Tel Aviv Museum of Art (2012),<br />MoMA San Francisco (2011), Pinakothek der Moderne, Munich (2010) and many others.<br />David Claerbout (b. 1969) lives and works in Antwerp and Berlin.</p> Wed, 23 Apr 2014 22:57:55 +0000 Jessica Jackson Hutchins - Johann König - May 3rd - May 24th Tue, 22 Apr 2014 23:32:52 +0000 Patrick Cierpka - Jarmuschek + Partner - May 3rd - June 14th Tue, 22 Apr 2014 23:28:06 +0000